Ars pictoria: or An academy treating of drawing, painting, limning, etching. To which are added XXXI. copper plates, expressing the choicest, nearest, and most exact grounds and rules of symmetry. Collected out of the most eminent Italian, German, and Netherland authors. By Alexander Browne, practitioner in the art of limning

24 BliOWNE (Alexander), Ars Pictoria : or an
Academy treating of Drawing, Painting, Limn-
ing, Etching. [With an Appendix to the Art of
Painting in Miniature or Limning.) London,
Printed for Arthur Tooker, 1675. Folio, with
brilliant impression of the portrait and 31 plates
by A. de Jode, fresh copy, original calf, £9 9s.

Alexander Browne is several times men-
tioned in Pepys' Diary.

May 7th, 1655. “ Yesterday begun my

wife to learn to limn by one Browne, which
Mr. Hill helps her to, and, by her beginning
upon some eyes, I think she will [do] very
line things, and I shall take great delight
in it.”

Ars Pittoria :

ACADEMY

TREATING OF

DR A WING, ; c LIMNING,
PAINTING, ) / ETCHING.

To which arc Added

XXXI. Copper Plates,

Expreffing the Choiceft, Neareft.and Moft Exad Grounds

and Rules of

SYMMETRY.

Collefted out of the moft Eminent Italian, German , and

Netberland Authors.

By ALEXANDER BROWNE ,

Practitioner in the Art of Limning.

The Second Edition , Cor retted and Enlarged b) the Author.

LONDON. ;

Printed for Arthur Tookf.r, at the Globe in the Strand, over againd Ivie-
Bndge; and William B alter sby, ziThavie's InneGace in Holborn,
near S. Andrews Church. 167 5.

Digitized by the Internet Archive
in 2016

https://archive.org/details/arspictoriaoracaOObrow

TO THE

Moft Excellent and Illuftridus Priricefs

Dutchefs of Monmouth & Bucclugh,

WIFE

To the Moil Illuftrious and High-born Prince'

JAMES

Duke of ^Monmouth , &c.

Madam,-

A LI the World knows that Nature in its per-
fection needs nothing of Art, and that great
Beings regard no more the ufe of it, then found
Men do that of Medicine. Your Graces therefore
goodnefs in owning Petnture, which you once
honoured to learn , with as much charity as dying
Saints build Colledges, is fo fignal, that it oblieges
in duty this imperfect Treatife to beg your pinty :
and then I am lure twill deferve other perlons e-
fteem. Your Grace was p leafed from my poor iu-
ftructions to draw a nobler honour to this Art-,
then Artiffs thcmfelvcs ete could do. Not that ! .
prefume to claime any share of this , which is folel y
due to the Grandeur of yo ur Quality and fweet-
nefs of Humour.-

The

The Epiftie Dedicatory.

The Cods chcmfclves here prayers, and fmell
Sacrifices, and declare they love thcfe practifes for
no other end, but to blefs and encourage us Men
in our Obedience, andlnduftry, As much as can,
or may be attributed of Divinity to mortals, is cer-
tainly due to your Grace, who are fo much higher
advanced in glory, by how much the meaner and
undcfervedaTitlelcanmaketomy felfof your in-
dulgence, to this honeft, though not grand efiay,
unlels only in this, that it intreats the favourable
Eve of fo Eminent a Perfonape-

J O

However Madam, fince my own Fortune is low
and narrow, 1 h ave endeavoured to get fo much
credit in th e W odd, as to make a confiderable col-
legion both from the living andthe dead,andthat
of th e heft Painters and Sculptors of th eir times.

Thefe Madam will be more beholding to you
for their memory, then to their own monuments :
For paint and marble muff needs dyefooner then
your great Name. i

For th e it fakes unparailel’d Princefs own, and
conforve this fmall Record oftheir worth : and
after that, (becaufo your bounty is unlimited)
pray pardon the rude hand, and bold addrelsof

Tjht Graces woft devoted, and
humbltft Servant

Alexander Brovvne.

To the READER:

YOZJ have the Contents of this Treat ife fo pdYticularly
in the Title-Page, and every particular Difcoiirfe fo
di fylayed, that l meant it no other Preface : but upon
fecond thoughts I judge it needful to fay fomewhat concerning
The Proportions of Men., Women, and Children. They
were intended onely and defigned to create the Idea offuch Pro-
portions in the Fancy or Brain, before they are drawn in a true
Symmetrical way

The Grecians had this Art in fo high efleem, that they made
an Editi, that no Slave Jhould be admitted to learn this Art ',and
good reafonfecanfe this Art floould onely be permitted to thofe that
were of a Free Jngenious, Noble Mind , and fuch as excelled others
in their (harp Ingenuity * and this Noble Mind is foon efied in
him who hath a dt light to fuch a Liberal Art.

The Ancient Romans ordered their Children fo, that among
other Liberal Sc. ences The Art of Limning was enjoyned to
them to learn. Which Commendable thing long before this was
in pr allice among the Grecians, that their Tout h of a good De-
fcent added to the. r Liberal Learnings ^ Geometrie, Mufick3
and other Mathematical Sciences, The Art of Painting alfo ;
for this Art hath been fo highly efeemed, that amongfl the Femi-
nine Sex it was held a great Honour if they had afelled and de-
lighted themf elves in fuch an Honourable Fxercife ; as the
Faithful Hi flories bear witnefs of the mofl Potent Roman
V a r r o*s Daughter, called MaRtia^ that fe had good sbjll
in T he A rt or Limning.

What I have here writ is dire&ed to the Ingenious Lovers
and Favourers of all Noble Sciences, to whom I fland obliged ,
and whofe Pardon l onely beg for any thing , wherein I may be
found unhappily Ignorant or Offenfive \ and indeed I am extremely
unwilling , that any Perfon jhould lofe his Time, or tafy the trouble
of Caflwg his Eye here, were 1 not modeflly of the Opinion, that
fomewhat of this Boo\ might not be unworthy Curious Mens
Le&ion. Farewell 1 am

j

Your Humble Servant, A, B,

In LaudemOperofi Voluminis

Alexandri Browne, Gen

J g \Andem Browne venis., expe&atillirnusEIofpes,
Florilegas imitatus Apes., qui ScuJptilis Art is
M Quicquid ab externis populisExfuxeris, annis
Pluribus., in proprium prudens difponis Hymitton.

Et nunc in Patrii partiris commoda Mundi.

Quanta Poetarum praeconia dona morantur.

Quanta PatronorumTe ! Qui velamine dempto
ArtibuSj antiquum reparata luce Timantem
Afflafti^ & Britonum radiis melioribus orbem.

Quod fi Roma dabat pro digno munere ferta
Civica, cui Civem bello fervaverat unum ;

Debentur turn Browne tuis quot ferta capillis,

Qui tot femineces artes in Juminis auras
DuxiftL, propriaque manu caelata novafti
Artificum fimulacra Senum. Jam Cons Apelles
Praxitilefque cluens?8c magni nominis ZJrbin 3
Angelo & infignis, vifi rupifte lepulchris.,

Et rediviva fibi fumpfifle cadaverarurfus.,

Aufpiciis mi Browne tuis. Correggio jam jam
Et Delvincentm, necnon Holbenus ,Sc audax
Titian 3 5c nofiri V andi1\ns gloria fecli.,

Dogma Pythagoricum de /ponte fatentur, Sc artes
Sculpendi pariter veterum., pariterque modern^

In chartas migrafle tuas * ubi machina mundi
Et nitido Naturaglobo Ipirare videtur
Principiis animata novis. I fortibus aufis
Dexter Alexander , multb Sc felicior illo,

Qui face languentem ferroque fubegerat orbem ;

Alitibus procede bonis^ Nomenque per artes

Sic extende tuas^ ut te primasva falutent

Teque hodierna fuum.venturaque ftcla. Magi strum,

V. t1 I S H E B, dudum Militum Servians Mai or t

INGENIOUS FR IEND

Mod

EXCELLENT PIECE,

HSreyou may find objeBed to your Sye,

Taint , the creations, Man (gods Imagry*

What fcatter d ray s of Heaven in us remain,
zA re here preferv'd , if not renew d again .

For who can draw to life the humane face
Do's therein few the intelleBual grace.

Whofe fair I dea though it's not opprejl
With names body > or Arts colour dr ef:

From thence yet all thofe numrous fhadows flow »

Which men fo worfhip and admire below.

Fancy th ’ original, and parent , gives
This Art a birth , which beyond nature lives 3
And keeps the Father youthful as the fon,

V V ith the fame colours, when complexions gone*

Death cannot part them *, for when ugly age
That Cj rand defir oy crs> lafl and fatal page
Is all decipher'd , He a column [lands
Coeval to his heirs, and all his lands.
zA nd when his body to the grave is fent
He ferves for furniture and monument.

3\(ature is troublefmnin its decayes ,
cA (o Toet cares to wear the wither d bayes.

Tis [indnefs, and ’tis manners to remove „

When we can neither be belov'd nor love.
zIATufi then all die ? no, that the painters skill’

For bid's, afsisted with the W riters quil.

This immortality dear Friendyou caufe,

V V iihout ordaining , or repealing Laws*

Your (Book<advances further, and difplayes
If/ hat 'Plutarcjus fl orals, or his lives have [aid.
JVeary Thilojophy expires in ftrife
JVhiijl you expofe plain truth unto the Life .
jfatures excefs , ornarromefsbyyou
l j- civdy reprov d , and all that s due ,

Of beaut i ous artyand Symetry to mans
fMufl own its payment to your mind andhand.

We h/iow no form of Angels but from paint y
S\for difference mal{c of devil , or of Saint .

The famous TXdichael Angelo fo drew

Hell and the damned, and infuch a hue-9

’Tv as thought tb' Archangel fome old grudge might bear ,

/hid bid his namc-fakg to renew the war.

T is then hop'd by the painter at the leajly
He may a fi ft ant be unto the Trie ft.

Since Virtu s lovely drawn, and vice foe ill
Sinners by him converted are ' 'gainfl will .

Emblems of honour, piety , and love.

Arts gre ate fl teachers , by him only move .

\ J. H.

E R R. A T A,

la Pag the 4 Line. zy. for it. Read us; for whofoevcver Read whatfoever. In Pag
17. line 15. /or in, rcadand. Inpag7^. line 14. for Sonne, read fum. Inpag74.1ine
4. for near', read were. In pag 87. hne 10. for keeping colour, read keeping the
colour. In pag 88. line 21. for lilvea, read filver. In pag 90. line 3. for ufe with,
readufeiewith. In pag 91. line 7. for white Serus, read white or Serus.

OF THE

-A

Vertue and Praife

O F

p p^op o pjrro^, or, symetpjy,

SUCH is the Importances and Vertuo of Pro*
portion , that nothing can any way fatisfie the Eye
without the help thereof: So that whatfoevcr
workethany Pleafuro or Delight" in us, doth there-
fore content us 5 becaufethe Graces of Proportion con-
fiding in the meafure of the Tarts , appeareth therein 3
Wherefore all the Inventions of Men carry with them
fo much the more Graces andBeauties, by how much
the more Ingenioufly they are proportioned, whence
Vitruvius faith. That tphofoeyer toill proceed in his W ork^s ivith
ff udoment , mujl needs be acquainted ivith the U\fature and Force
of Proportion; which being well and kindly under-
flood, will make him not only an excellent ]udge of
ancient and late Workmen, but alfo an Inventor and
Performer of Rare and Excellent Matters himfelf
Now the Effects proceeding from Proportion are tin-
fpeakable, the Principal whereof, is that Majeflio
andBeautio which is found in Todies, called by Vi -
trnVtus , Eurithmi a, And hence it is , that wThcn
we beholda well-proportioned thing, we call it Peau*
tiful , as if we should fay. Indued with that exaefl and
comely Grace, whereby all the Perfection of fweet
belonging to the Sight, are communicated to
the Eye, andfoconveyedto theUnderftanding.

But if we shall enter into a farther Confideration of
this "Beauty, it will appear moft evidently in things ap«*
pertaining to Civil Difcipline • for it is ftrange to con-
duct what effects of Piety, Reverenco and Religion*

A are

2 Of Proportion

are ftirrcd up in mens Minds, by means of thisfuitable
comelinefs of ape proportion. A pregnant example
whereof we have in the Jupiter carved by Thidias at Slis,
which wrought an extraordinary leni'c of Religion
in the People, whereupon the antient and renowned
Zeuxis well knowing the; excellency and dignity
thereof, perfwaded (f reece_j in her moll flourishing
Eftate, that the Pidures wherein this Majefty appear-
ed were dedicated to great Princes, and conlecrated
to the Temples of the Immortal gods, fo that they
held thetn_. in exceeding great eftimation_j ; partly
becaufe they were the W orks ofthofe famous Mailers,
who were reputed as gods amongft men; and partly
becaufe they not only reprelentedthe Works of God,
butalfo fupplyed the defeds of Nature; ever making
choice ofthe Flower and Quinteflence of Eye-pleaf-
ing delights;

Neitheryetisthis Proportion proper unto painting
alone, butextendeth itfelf even unto all other Arts;
infomuchasis drawn from mansBody, whichasthe
Painterchiefly propofeth to himfelf, (as Vitruvius not-
ethjlo doth the Architedmuch imitato it, in the
convenience of his buildings, and without which,
neither the Carver, nor any Handicrafts man can per-
forme any laudablo Work; becaule it was the firft
patterns of all Artificial things : So that there is no
Art, but is fomeway beholding to Proportion: yet
notwithftanding the Painter as (Loo ‘Baptijla Albertus
affirmeth ) infomuch as he confidereth mans Body
more elpecially , is juftly preferred before all other
Artizans, which imitate the fame, becaufe antiquity
meaning to grace Painting above all the reft. Handi-
crafts men exempting onely Painters out of that num-
ber.

Of

or Symccrv. 3

* <f.

Of the Jfieceflity and Definition of ‘Proportion.

TT was not wit hour' juft Caufe, that the antient
(frteciam (at which tinier the Ar v of Painting had
fully attained to his Perfection, by the Induftry of
Dimantes , Eufenidas 5 <iA ri [tides , Eupompus , Sicyonias and
‘Pamphilw y the Famous Macedonian Painter, and Ma-
tter of Apelles 5 whoalfowas thefirft learned Painter
directing his Workes by the Rules of Art, above any
of hisPredeceiTors, and well coniidering that w hat-
foe ver was made without meafurc; and proportion^
could never carry with it any fuch congmity as
might reprefent either Beauty or Grace to the ju-
dicious beholder) were wont to fry, that it was
impofliblo to make any tolerable, much lefs any
Commendable PiCture, without" the help of (fieo-
metry and ^Arithmetics wherefore they required the
Knowledge thereof, as a_> thing moft neceflary;
which faying was alfo approved by Philip PAPacedo.
And furely it is impoflible (toomitt the mecre Ar-
tizans) that he who is ignorant^ of thefe two Sci-
ences, should underftand the exaCt meafure and
proprotion of any probable or true Body, the ne-
ceffity of which proportions shall be shewed here-
after.

It is apparent then_j that a Picture lacking this,
is like a piece of Marble grofly wrought, without
Rule or Meafure, or two Columns : which al-
though they be to (lender, ortogrofte, to short or
to long, yet are called Columns; as Dwarfesand
deformed Creatures are named Men. Now this
Book shall contain the general proportions of the
principal things alone, from whence the reft are
derived, of which before I begin tofpeak. / hold

A 2- v it

4 Of Proportion

it convenient to confeder the definition of proportion, and the patts
thereof

. Proportion is a correfpondency and agreement
of the Meafureof the parts between themfelvesand
with the whole, in every Work, this correfpon-
dency is by VitruYius called Commodulation, be-
caufe aModell is a Meafure which being taken at
the firft meafureth both the parts and the whole.
And this is that ( to omitt the leveral kindes there-
of, which shall be diftinguished in their due place, )
which for fo long (pace having been loft, was the
caufe why the exad and true proportion of Mans
Body was not underftood, by Qccafion-j whereof
there never came any Excellent Peeces abroad, al-
though the matter were never fo coftly : Andcon-
fequcntly that the Painters being ignorant of that
they had in hand, inftead of proportionable men
made lame Pictures as the Architedure, Temples,
Images, and Pictures made throughout^ the whole
World (but cfpecially in Italy ) about the timo of
Confiantin^j the Great , untill firiotto in Tufcany , as
oAndrino di £ defeat Taucfe^j in Lombardy canfufficiently
witnefs, and this fin a_> word) is that, the know-
ledge whereof fb fatisfieth the judgment, that ii_j
maketh it not onelyableto mako whofoeven, we
lift, but alio teacheth us to judge of Images, and
Pidures, as wellantient asnew, and without^ this
a_> Painter ( befides that he is not worthy the namo
of a_? Painter ) is like one which perfwadeth himfelf
he fwimmeth above Water, wdien^ indeed he fink-
eth, to conclude then it is impoffible to make any
decent^ or well proportioned thing, without-* this
Sy metrical m ea 1 ure of the parts orderly united.

Wherefore my greateft endeavour shall be, to
lay open^ the worthinefs of this part of painting

unto

or Symetiy. $

Unto all fuch as are naturally inclined thereunto, by
reafon of a good temperature joyned with an apt
Difpofition of the parts thereof, for fuch men will
be much affeefed therewith , to the end they may the
better perceive the force of S\ (attire: who by indu-
ftry and help of agood conceipt, will eafily attain
to fo deep a reach, that they will be able upon the
fudden to difcern_j any Difproportion , as a thing
repugnant'’ to their Stature: unto which perfection
on_; the contrary Side they can never attain, whole
Judgements are corrupted through the Diffemperature
of their^ Organical parts , I fpeak of luch who not
knowing the virtue of proportion , affeCf nothing
elfe, but the vain furface of garijh colours , wrought after
their own humour, who prove only Daivbers of Ima-
ges and Walls throughout the whole World; moving
the beholders partly to fmile at their follies, and
partly to greive that the Artshould be thus difgraced
by fuch ablurde Idiot's: who as they have no judge-
mentherein; fo do they run-* into divers other molf
shamefull errors, into which I never heard that any,
ever fell, who were acquainted with the ! 'Beauty of
proportion, but have rather prooved meru of rare
Spirits and found Judgements, as may be gathered
by the great requeft it was in , untill the times of
thofe Princes , as well antient as late : Hut before I
proceed any farther , l think ^ it neceffary to treat fome thing of
Head in particular , Firjl ,

r > t

. * Of the Head in Trophile or fide -way esa

. • ? > - s

'"THe manner to make this Head by juft and fafe rules
*■ is thus, Firft forme a perfect equall Triangle
in what pofition you will, turning the Triangle to
make the Face upon_> one of the three fides , be it

B whieM

6 Of Proportion

According which it will , either upwards or down-
hl wards, higer or Aower; dividing that fide
into three equall parts, the one to ferve from the
lower part of the aaire, to the lowen, part of tho
Forehead • the Second thenco to the under pare of the
j\(oflrils . the Third to the lower part of the Qhinn:
now having framed thefe three lines, drawalittlo
crooked ftroak with a C°^e or 0ja^ out °f the right
Line , that may reach from-/ the top of the Forehead
unto the Eyebtoiv, from whence draw away the Hope
Line, bending at the end. Toperforme the S\ofey
either long, short, grofs or thin, as you Vvould
have it, ending that at the fecond diftance, where
the J^oflrils end, then fubdivide the remaining third
part in the midft, where xhc<EA4outh shall be placed
for the parting of the upper and under Lipps , then-/
frame the Chinn, having a refpeeft to the perpendi-
cular Line, that it fall notoutof the middlej of the
(jointly adjoyning thereto the under Chinn down-; to
the Throat-pit. So with the other two dividing lines,
the one from-; the Top of the Forehead downwards
(and ends in the midft of the back part of the Ear-,)
the other proceedeth upwards from the Chinn, afeen-
ing till that meet with the Superioun, defeending
Line, whofe Interfe<ftioro dire&eth the Earc, that
the circumference thereof ftretch not too far: Thus
with your judgement take the upper part of the Fore-
head, and come to deferibo a great circular Lino
about, toForm with that the roundnefsof thcHead,
unto the Nape of the S\(ec^ keeping the propor-
tion^ that 0\(ature_j teacheth; and from thenco
downwards frame the reft of theJA (eck^ remembring
that the Tip of the Eare doth not exceed the lower
part of the 3\ (o/Iril0 So yon may hav o the Head in tohat

or Symctry. 7

T option you trill, fo this abandon not the wo other Lines, each
concurring in their due points.

Of the Foreright Lace.

BEing then defireous to draw the Foreright Face •
it will beneceflary to Forme a perfect Ot>all, which
being made, divide it in the midd, with aline the
longed way ( that is to fay ) a perpendicular line ,
divide this line into three equall parts, allowing
fourth of one of the three parts for the Hair in the
Forehead, the Fird for the Forehead, the Second for the
3\ (ofe , the Third forthe Qmh In the midd thereof
mud the < 'JMoutb be formed, alwayes remembring
that the Eyes mud be in one line, thecrofs line of the
3\fofe and zIAFouth mud alwayes be correfpondent*"
to thecrofs line where the Byes are placed; and the
Byes mud be the length of on cSye didanr from tho
other 5 and that their inward Corners be perpendicu-
larly over the out-fide of theN ojlrils punctually, but
to mako the Bares in a_>Forerighr Face proportio-
nable, they mud be much Foreshortned by Fore-
shortning, I mean whefi^the Bye doth nor fee the
full Latitude of it* the proportion of the length of
the Eare , to be from the Syebrows to the bottom o of
the N ojlrils, and then joyn the Nec\ with the Hair iiL ^
fueh fort as may feem mod pleafant unto the Bye.

0 f the Head in F orefhortning a

TTltherto X have treated of the Head, both Foreright'
and in other Pofitions, but that you might
know all that is needful! for the perfect underdand-
ing of this profefliori, it is necelfary that I fpeci-
fie the manner how to draw thcFace by an eafy, ab*

B

%

8 Of Proportion

folute and fair way; Treating thus I propound to
you Methodical means therein, becaufe my intent
is to Facilitate the matter in that manner, but with-
out writing thereupon it may be intelligible;, foe,
a draught well made hath that power, that it makes
it lelfunderftood without" any difeourfeof the Au-
thor thereon, but I alwayes obferve both the one;
and the other alfo; I fay that the forefhortning which
is mado onely withFrettr, (grates , Squares , or with
(geometrical Inftruments, breed onely a confufion of
lines, which is not thebeft principal of expert" In-
genuity, the reafon whereof is, that it can hardly
be mealured by any Rule, unlefs the whole Body be
framed together. Therefore I trill (here an eafy ‘Rule , very
like to that of the foreright Face,', that is , to makg_j a Circular
draught with the ajjteB upwards , or downwards, as in the foreright
Head, where the Traverfe lines are_> jlraight , hut the fe go Cir-
cularly, for if the Heads flye upwards the Traced flrokesand the
Divifions mu(l be raifed, with caution that the_> Eares and Eyes
fallnotout of their due points, as isfignified in the fir [l ‘Plate.

% r C t j/

* V

Of the fide face without any Meafure.

T)Eing defireous to make the fide face without any
-*-* Triangle or Meafure, which witha little; care
and pra&ice, obfervingthe diftances andMeafurcs
which will ferve for Dire6tion, becaufe the Head
and other parts of the Body oughts to be proportio-
nal, and made from^ Meafures , it will eafily fol-
low, Framing on. Traceing many, you may not"
only Facilitate it by the Eye and Judgements, but
alfo accommodate the Hand, to Trace and draw, all
things right, for it is true that the Syew ill have its
place. I having drawn certain-* ftroaks or draughts

from

or Symetry. g

from the life ot nature, and reduced it with the Pencil
into Colours* have found it como off punctually
right, of a correlpondent^ bignefs to that, which
I have imitated, and have not found any thing dif-
proportioned, but have alwayes found it fall out
right as I would havoR, therefore I fay that this
Rule, and M eafure which I have fet down, in the
Torphile or other opofitionsofthe Head, is not any hin-
drance to the excellency of the Art, nor will weak-
en your worth* but will ferve foL a general Rule
being once polfeft therewith; and alfo become pre-
valent when occafion_j shall require, to make a Head
Ten times as big as the Life ; for that with this
Meafure , you shall readily Frame it right by any
great Head *, and thaL^ becaufe^ the underftandmg
therein is equally extended* but the more the capa-
city is wanting, the more my Labour will farther-#
when_j need requireth. <Theje then 1 give as Trincipal for
the firU flroakes , as in the next figure may he perceived, which is
fronts the Forehead, as I have already faidy for the beginning
of the Nofe •, that is fronts the lower part of the Hair, to thehoL
lovmef of the Nofe and the Noftrils, and fronts thence to the
Chinn,

i

Several Observations, in drawing Os Head after the Life,

ANd becaufe the greateft difficulty, and principal
parts of this Art confift infome partin drawing
tfie lively Refemblance of a Face, therefore I thought
it very neceffary to add this as further Diredtioru
to draw any F ace after the life. T herefore if you will
draw any Vace after the life, that it may referable the
party you draw it after*, take notice in the Firft place
of the Thyfognomy or circumference of thc'Face, whi-
ther it be round or long, FatorLean* Big or Little*

G fo‘

io Of Proportion

fo that in theFirft place you muft be fure to take the
right Thyfioonomy and bignefs of th eFace, and in cafe
it be a Far1 Face, you will perceive the Cheeks to make
the fide of the F ace to fwell out, and fo make the F ace
look as if it were fquare : And if it-' be neither too
fat nor too lean, it will be round for the moil parr;
but if it be a learr Face the fave-Eones will flick out,
and the Cheeks fall in, and theFace_a will be long and
(lender,,, obierve when_>you draw the outmoft cir-
cumference-'of a Face, to take the Head and all with
it, or otherwife you may be deceived irr drawing
the true bignefs of a_,F ace, then you muft diligent-
ly and judicioufly obferveand difcernall the Gentle
EA/faftcr ‘Touches , which gives the Spirit and Life to
a Face, and difeovers the Grace or Difpolition of
the e5\dind, wherein lieth the whole Graces of the
Work, andthe Credit of the zTrtifl, voumayeafi-
ly difcern_> a finding Countenance in the Corners
of th cuSXfouth, when they turn up a little; you may
beft difeern a ftaied and fober Countenance-fin the
Eyes , when the upper Eyelids comes fomew hat over the
Balls of the Byes, butafrowning Countenance is eafi-
lydifcerned in theF orehead by thebendingof th e Eye-
brones, and fome few wrinkles abouir the top of the
3\fo[e between the two Syebrotees , and a_> laughing
Countenances is eafily difeerned all over the F ace,
but an angry Countenance is difeerned by extraor-
dinary frowning; there are alfo forne touches about
the Eyes and Mouth which you muft diligently obierve,
which gives the Spirits and LifetoaF ace.

The Troportion of a Man of Ten faces.

II ftandeth with good reafon , that ( following the
Method of the Antients Gramm ) I should make

this

or Symetry. i £

this Body, whole Proportion I intend to handle particularly,
anfwerableto the Symetry of all other Artificial Bodies,
which may be made far more beautiful then Nature affordeth
any. W herein, notwithftanding the whole Art of Symetry
may be comprehended more or lefs ; and this point I mean to
handle in this Chapter and the next, wherefore I have prefix-
ed this before the reft, becaufe it is as it were the Foundation
of all.

This Figure then is firft divided into Ten equal parts
or Faces, 1 mean from the Top of the Head to the Sole
of the Foot . The firft diftance beginneth at the top of the
Heady and reacheth to the root of the Noflrilsyhe fecond from
thence to the Throat-fit, the third thence to the Parting of the
Breafls, the fourth thence to the Navel , the fifth thence to the
PrivitieSy which is juft the middle of the Length of the Bo-
dy: From thence to the Sole of the Foot are five parts more,
whereof two are between the Privities and the Mid-tyiees, and
three more to the Sole of the Foot. Thus according to this
divifion all the Parts are Equal.

But before I proceed any further, ’tis neceftary to begin to
treat in part of the Parts or Divifionsof the Head firft.

Now the firft part, which I intend for the Face, is to be
divided into three Equal parts, the firft beginning at the up-
per part of the Forehe.idy and ending upon the upper Crols
Line of the Eye-brows ; the fecond diftance reacheth from
thence to the bottom of the Nofe ; the third reacheth to the
bottom of the Chin, the firft and uppermoft Divifion. The
Forehead muftbe traced or dawn, the fecond you form the
Nofe and Eye , the third the Mouth and Chin. The diftance
of one Face below the Chin you place the Throat-pity but
note that in a fore-right Face you place your Eyes the length
of one Eye diftance from the other, and the length of one Eye
the bottom ofthe Nofe is to be. The Ears muft be much
forefhortened, becaufe the Face being fore-right, the full Lati-
tude of the Ears is not expofed to the fight, as you may fee

C 2 tn

j 2 Of Proportion

in the firft Print at A. Obferve that the three parts are
onely for the Face ; and then there muft be an allowance for
the Hair above the Forehead; the common allowance is Half
of one of the three parts, or according to the Hair you intend
to draw, more or lefs.

The Breadth of this Body confifteth likewife of Ten Fa-
ces, namely, between the Extremities of both the Middle
Fingers , when the Arms arefpread abroad , and is thus divi-
ded ; The Hand from the end of the Middle Finger to the
Wrifl is the length of a Face, and from the Wrifl to the Elbow
one and an half, two Faces more from the Elbow to the Cla-
vicula, or Joyntof the Shoulders , and one to the Throat-pit.
The Hands are of the fame proportion with that between the
Shoulder Joynt and the T hroat-pit. The Nipples muft be pla-
ced at the diftance of a Face and a half from each other, fo
that it agrees with that between the Wrifl and the El-
bow.

The Compafs of the Head from the Eye brows to the
Ncc^ behind, is double to the length of the whole Head. The
Circumference of the Waft is the diftance of three Faces to the
Diameter thereof, and is all one with the Trunk of the Body.
The Circumference of the Body under the Arm-pits, and the
ipace between them and the Wrifl , anfwer in a double pro-
portion, and is agreeable to any Half of the Body.

The Meafures which are Equal between themfelves are
thefe; Firft, the fpace between the Chin and the Throat-pit is
asmuch as the Diameter of the Nec\. The Circumference
of the Nec\ is as much as from the ThroaUpit to the Navel.
The Diameter of the Wafl anlwers to the diftance between
the Knob of the T hroat and the Top of the Head • and this is
the length of the Foot. The fpace between the Eyelids and
the Noflrils is all one with that betwixt the Chin and the
T hroat-bone. Again, from the Nofe to the Chin, is as much

as from the Throat-bone to the Throat-pit. Moreover the
fpace from the Hollow of the Eye-brow ? and from the' Eye-
brow

or Symetry. i -

brow to the Centre of the Eye, is the fame with the Prominen -
cy of the Noftrils , and fo much it is between the Noflrils and
the end of the Upper Lip . So that thefe three Spaces are
Equal, befides the diftance between the Top of the Nail of
the Fore-finger, and the laft Joynt thereof and from thence to
the Wrifl are Equal. Again, the Space between the Nail
o f the Middle-finger and the laft Joynt, and from thence to
the Wrifl ,is all one* The greater joynt of the Fore finger is
the Height of the Forehead, and the Space between that joynt
and the Top of the Nail is Equal to theNofe, beginning at the
Bottom of the moft eminent Arch above the Eyes, where the
Forehead and the Nofe are divided.The two firft joynts of the
middle finger are equal to the Space between the Nofe and the
Chin . The firft joynt whereon the Nail grows is the diftance
between the Nofe and the Mouth . So that the fecond joynt
anfwers to the firft, as alfb does the Space between the Mouth
and the Chin . The bigger joynt of the Thumb gives the
Length of the Mouth, the Space between the Top of the Chin
and the Dint under the Lower Lip anfwers the lefier joynt of
the Thumb, and is as much as from the Nofe to the fame Dint.
The laft joynt of each Finger is double the Length of the
Nail . From the middeft between the Eye-brows to the out-
ward Corner of the Eye, is as much as from thence to the tar .
The Height of the Forehead, the Length of the Nofe, and the
Diftance from the Nofe to the Chin, are Equal. The Breadth
of the Eland and Foot are all one. The Length of the Foot
meafured round about to the Height of the Inflep is the fame.
Twice the Breadth of the Hand gives its juft Length. T he
Arches of the eye-brows are Equal to the Arch of the Upper
Lip , at the Divifion of the Mouth. The Breadth of the nofe
is the Length of the Eye , and are either of them half the
Length of the nofe. T he navel is the Middeft betwdxt the
nofe and the Knee . From the Top of the Shoulder to the el-

bow mu ft be the Diftance of two Faces, and from them to the
Wrifl one and an half. The Breadth of the Body at the broad-

D eft

x _j_ Of Proportion

eft part of the Shoulders is to be two Faces and an half, agree-
able to that diftance from the Elbow to the end of the Middle
finger. The Breadth of the Body at the Privities is two Fa-
ces. Th eThighs at the thickeft part near the Privities are

the diftance of two Faces broad. The thickeft part of the
Leg hath the lame Proportion as from the Top of the Fore-
head to the End of the Nofie. The Breadth of the Bacfi at
the Arm -pits is the Proportion of two Facts, and (o are the
Hips at the Buttocks. From the Outmoft end of the Middle
finger to the end of the laft Joynt next to the Hand , bears the
lame Proportion as from thence to the joynt of the Wrift .

The Proportion of a Man Eight times the length of his Head .

Firft ftrike a (freight Perpendicular Line of the Length you
defign the Figure, then divide it into Eight Equal Parts; the
Uppermoft Part is intended for the Heady in which you mud
be very Exadf, becaufe the whole Body muft be proportioned
Correfpondent to it. Therefore *tis neceflary that I give
you in ftiort a Rule to draw a Fore-right Face : Firft form
an Oval, then divide that Oval into four Equal parts, the firft
for the Hair0 the (econd for the Forehead \ the third for the
Length of the Nofe, the fourth from the Lower part of the
Nofe to the Bottom of the Chin. But when you Draw after
the Life, you are not to follow this Rule exa&Iy, becaufe
Dame Nature is extremely Various in her Reprefentations.
The Eye muft be placed the length of one Eye diftant from the
other. Having drawn the Head, there remains Seven Parts
more (rom the Bottom of the Chin to the Sole of the Foot .
The Length of the Head from the Chin you draw the Breaftr.
The third Divifion reaches to the (mailed part of the FFafie,
the fourth to the Privities , the fifth to the Middle part of the
Thigh , the fixth to the Middle of the Knee , the (eventh to the
Small ot the Legy and the eighth to the Heel & Sole of theFoot.

And thus if we fhould proceed , we might find in the Head
all the other Proportions of the Smallefl Parts , together with
their Concords mojl exafflyy which for brevity* sfaty? Iomityhafie -

ing

or Symetry. 15

trig to the Measures of all the ’Tarts , which are truly Symmetric
cal, and correfpondent to the Tarts of the VV orlda

TheTroportion of a Mans Tody of Ten faces .

THe proportion-* of alongand (lender Body mud
be patterned after the Body of tSMars the god of
Warr, amongft the (f entiles, who by reafoii-j of his
Heat and Drynefs hath a long and (lender Body a-
greeable^ thereunto ; and may alfo ferve for any o~
ther Body of that nature, as being Boyfterous, Cho-
lerick, Cruel, Martial, Mutinous, Rashand prone'
to Anger* asarealla&iveandftrongmen, byreafon
of the bignefs of their Tones , void of much Flesh,
which caufeth them to be of a hard, and sharp Body,
with great Joynts, and big N o/lrils dilated with Heat,
whofe^Kx, zSXTouth, and other paffages, are corref-
pondenC *, as in his due placo shall be more particu-
larly shewed.

The breadth of tho Hand, being divided into
Four Parts, makeththe Four Fingers from the top of
the Middle linger to the Elbow , is the Fourth Part-* of
the whole Body*, And this proportion is of fuch indifferent Teau~
ty , that [paring the oSATartial afperity and bouldnefs , it may ft
divers other fender and noble^j Todyes , as occaffon fall ferte.

The extravigant Troportion of Ten Heads .

CInce mypurpofe is to Handle this matter^ exaitly
^ it shall not be amifs, briefly to touch the height
proportion of Ten Heads delivered by ^Albert Turn
for although it be (in truth.) to (lender in all Mens
Judgements, yet I may no omit it, becaufe it hath
the authority of fo Famous a Man^ in the Skill of

D % ~ ’ "

1 6 Of Proportion

Tainting zsCfermany cannot" match again. Firftthen
this proportion-/ is in length from the top of the Head
to the Chinn, a tenth part of the whole : thenco back-'
wards to the top of theF ore-head, an_j Eleventh: 77;e
face may be divided into 'Three ecpual Tarts , as the re jl are .

The 'Proportion of a Young Man of nine Heads .

IAmofopinionthat Francis ^Wa^ga/inus would have
proved the only rare^ Man of the World, if he
had never Tainted any other kind oiTiclures ( as rude,
grofs, and mclancholly ) then thefo (lender ones
which he reprefented with anadmirablo dexterity
as being naturally inclined thereunto 5 fo that" if
he had only reprefented <tApollo> Tacchus, the JsQmphes,
&c. he had fufEciently warranted this his molt ac-
ceptable^ proportion , which was ever (lender, and
oftentimes to Height , but when he took upon him-,
to exprefs the Prophets, our Lady and the like in__*
the fame; as appeareth by his *5\dofes at Tama , our
Lady at Mncona. and certain aAtigells not farr from_.
thenco, and divers other things quite contrary to
the Symetry they ought" to have, he gave a prefident
to all other Tainters to shunne the like error : which
himfelf might alfo havo eafily avoided, being re-
puted little inferiority to ‘Raphael Vrbinc_j, whom he
might have propofed to himfelf as a^patterne; for
Raphael ever fuited his perfonages anfwerable to the
variety of the futures, and Hifpofitions of the Parties
he imitated : fo that" his Old Folks feem ftiffand
crooked, his Young Men agile and (lender and fo
forth in the reft, which example^ admonisheth us,
that Taintcr ought not" to tye himfelf to any one
kind of proportion^, in all his Figures*, for befides
that he shall lofe the true Decorum^ of theHiftory:

He

or Syrnetry, if

He shall commit a_> great abfurdity in the iAh by
making all his Figures like Ticvinm: Into which crrdrb
notwithftanding divers (otherwife^ worthy c Painters )
have runn, whole names I lupprcfs : and efpeeialiy
one of thole two great ones, which over-lights all
good pra&itioners will ealily difcetris, becaule all
their Figures areofan Uniforme proportion, though
wonderfully exprefling variety of actions: And for
our betteiL-underflandingin this kind of proportion^

( as beft fitting Young Men, who are fomewhaf Beau-
tiful I by means of theirs flendernefs, agility, and
gentle Difpofitioixjmixed with a kind of boldriels)
Raph: Vrbtne hath very well exprefied if' in St. (feorge
fighting with tho> Dragon, now to be leen_> in the
Churches of St. V Sore de Fratri in zTMilane • in St. oS\d ichaell
at Vontainble’w in Trance , and in that (feorge_j> which he
made for the Duke oCVrhine on a_^Peice richly guilt,
according to which Obfervation of his> every Man
may difpofe of this proportion^ in the like young
Bodies, now for our more exa£i infighr hereinto,
byway of precept, we mull firlt note that a (lender
young Body of Nine Heads is from the top of th c Head
to the end of the £/;/>//*, aNineth Parr' of the whole
length : And thence back again^ to the root of the
Hair aTenth or Eleventh Part, aslhave obferved in
"Raphaels St. Michael and in an old dA polio, butlj which
way foever you makeitr, this fpace is divided into
Three equal Parts ; whereof the Firft makes the fore -
bead, the Second the Sfofe, the Third the Chinn, how*
beit I grant that in a face which is the Eleventh Part
(byreafonof a certain Tuff of Hair which is ufually
exprefied ) the fore-head becomcth lower by a Third
Part; which Rule the ancient Cjracians kept,astheio
Statutes do evidently witnefs.

iS Of Proportion

The Proportion of a Man of Eight heads.

: C ^ [ l V / .. ti J O t* / 11) L ' i I J 1 1 1 J 1 f . j L* 1 1

WHereas in every Work there is Tome one entire
Figure, whereunto all the particulars of the
whole Hiftory ought to be principally referred, the
Painter ought not to imagine, f becaufe he is more
skilfull mreprefen.ting fome other thing in the work
then that which beareththe reference of the whole,)
that therefore he shall delervo commendation, but
rather diferedit, for it is mod certain-. that Work
w’ill prove offenfive, where fome inferiour and by
matter, is more cunoufly handled then the princi-
pal, andtherather, becaufe the other Parts cannot-,
chufe but loofe their Grace. A thing which hath
caufed divers excellent-; ‘Painters ( as well new ) as
antientr' ( being purpofely carried away with too
great a defire-. of doing well) to leave their Works
imperfeCt , which they could not remedy any other*
way, then-, by utterly defacing that which they had
dono, were it never fo excellent.

A mofl pregnant-, example whereof we have itu>
thatantien tPainter Eupbzginor- whobcingto drawthe
Twelve gods in & Athens , he began-, with the PiCture of
Tfepttme, which he wrought fo exquifitely both for
proportion, colour, and all other points; that pur-
pofing afterwards to mako ffupiter with far greater
perfection-., he had fo fpent his conceit in tne Firft
Figure, that he was not able afterwards to exprefs
any of the other gods, much lefs fupiter) the like-.
Difgrace happened to Zchxcs by the Naturalenefs of
his Grapes, and the Imperfection-, of the ‘Boy , not
unlike unto which was that of Leon: Vincent of late
Dayes, who being to Paint thrift, at his laft Supper
in the middlt of his Difciples in the %efellory of St.
Maria

or Symetxy. rp

tSXdariade Gratia-, in zSMilahe ■, and having finished all
the other zA'pofllcs , he reprefented the two fames' i
with fuch perfection^, of (jrace and Majefly, that en-
deavouring afterwards to exprefs he was not"

able to perfect and accomplifh thatfacred Countenance,
notwithstanding his incomparable skill in the zArt,
whence being in a defperate Cafe, he was enforced
to advife with ! Bernard Zenale concerning his Fault,
who ufed thefe Words to comfort him. 0 Leonard
this th'mCj Srror is of that quality, that none but God can correS
it • for neither thou nor any Man living, is able to
beftow moreDivino Beauty upon any Figure, then
thou haft upon thefe fames’s, wherefore content"
thy felf, and leave Chrifi uriperfedt, for thou mayeft
not let Chrijl nearthofe zApojlles, which advife Leonard
obferved, as may appear by the Pidture, at this day,
though it be much defaced. Whence my Council is ; that
for the avoiding of the like Errors , tee examine. _j the original
thereof, having an efpecial regard to our proportions ; as the cheif
Caufe of the grojfnef, JJendemefs, clowni/hneji, and daintynejs of
‘Bodies : whence all the ‘Beauty and / ll-faVourdncfs of Pictures pro -
ceedetb ; wherefore let each ‘Body have his true and particular pro-
portion: which is to divide tbejbody into Eight equal Barts, whereof
the head is one, which may ferve^ for all zSMen in general, who agree
with this nmfl abf 'ilute form ; whofe proportion followeth.

Of the ‘Proportion of a Mans Body of Seven Heads.

. . y , * * | , .... , f

/T'He grand Philofopher Pythagoras , giveth fkffi-
cient Teftimony of the Truth of thelo Rules
concerning the proportion of Mans Body; info-
much as by their help he diftinguished the propor-
tions of Hercules his Body, from the other gods, by
finding out the true Stature thereof; and confe-
quentiy how much he exceeded the Stature of ordi-

E a nary

20 Of Proportion

nary Men • of whom aJn: Cyellius writefh, that he
obferved the Quantity of Hercules Foot , wherewith
the race-' in Acaicu, before fupiter Olmypius his Temple
( where the Olympian Gaines were celebrated every
Fift Year) was mcafured-, and found it to agree, in
the Number., of Feet, with the other Races, which
were fix hundred Twenty Five Foot ■ and yetr'to be
much longer then any of the reft.

Tty ’which Example we may ea/ily conceive , that every propor-
tion will not fit all kfndcs of Bodyes , becaufe thert_a are many
varieties thereof , as there are Sfatural ‘Differences of Bodyes ,
wherefore 1 will proceed to the handling of the proportion of a Body
of Seven fuhjlant'tal and big Heads, all whofe <-5\4 embers are
prong, Jlurdy, and rat fed-, his length then from-, the Crown of
the Head to the Sole of the Foot , is feven-times the length of
his head.

Of the ^Proportion of a Woman of Fen Faces.

A Lbeit Dame Sfature, the cunningeft Work-Mi-
ftrefs of all others, doth ordinarily obferve f'o
greatr" variety, in all her Workes, that each of her
particulars differeth i n Beauty and proportion; yet not-
withftanding, we find by experience, that-" she is
more induftrious, In shewing her Art and Skill in
fomc few mod Beautifull creatures, whereupon-1 1
C infomuch as Art being the counterfeiter of JA fame,
rnuft ever endeavour to imitate the mod abfoluto
things ) intending to handle the proportion-1 of a
Woman mean not to fpend much time in difeourfing
of the fcveral proportions of all the Sortsof Women
which SSfaturc affordeth ( for that were infinite) but
purpofc to write only of the moft pleafing propor-
tions appearing in dainty and delicate Bodies, now
this Body is thus mcafured : Divide the Body into

Ten

or Sy merry. It

V J Tf I t

Ten equall Parcs, whereof the Head mutt be one ,
from— » the Crown of the bead to the privities mutt be
FiveoftheTen, and from the privities to the Sole of
the Foot Five more.

And this is the Mealureand proportion of a come1'
ly Womans Body, drawn not only from.; the ob-
fervations of the antient Statues of Vcnm , but even
fronts the ground of Nature itfelf; which propor-
tion may lerve for any Woman, wherein you would
efpeciallyreprefent the perfedlionof Beauty, and not
for every common Woman 5 asMartial, Huntrettes5
grave MatroneSi or other ftayed Women, incline-
ing to groflnefs, as the other tend to flendernefs,
and becaufe all the other proportions depend upon
thefe two fas may eattly be proved by Geometrical
linesj I thought^ good to fet them down firft; as
Rule and Direction for the rett, which I purpofe now
to handle j with the fame Method I did the other
two: Leaft otherwifej it might happily be thought^
that thefe proportions were made by chance^ where~
foro all the particulars are to be framed, anfwer-
able to the 3\(atureof fuch Bodies as they refeinblo*
otherwife fome one difproportionable and unfuitable
Parr1 will caufe as great, or rather a greater^ ble~
mish in a heautifull Body : Qyfs a Tufcan Capital, in a Co *
rinthian Qullumne ; or a Phrigian note mixed with a (DoricfrK.

#

The Proportion of a Woman of Ten heads a

'T'He proportion of a Woman of ten Heads in lengthy
is thusmeafured, between-^ the top of the Head
and the Sole of the Foot 5 is ten times as much as be*
tween the Chinn, and the top of the FT cad, thenco
to the Privities is half.

22 Of Proportion

P be ‘Proportion of a woman of Jfine Face s.

TT was not without juft caufe that V itruYms in theFirft
" of his aJrchiteBure , diftinguishing the manner of
Temples by their feveral Orders dedicated the Ionic\_
Order to the goddefsj^, as being ftenderer thens
the Doric and more lubftantial thens the C0Y'inthian :
Confidering no doubt" very wifely, that this god-
defs was not naturally fo Grave as V efta. nor yet fo
ftender and beautifuli as V mm • notwithftanding she
carrieth a <T\datrone like Beauty? fullof State and Ma-
jcfly , for which caufe alio, I apply this Portions of
Nine Faces unto her, as moft properly belongingun-
to her, being inferiour in Beauty to the proportions
of Venus , and yets the moft beautifuli amongftthc^
fSWatronc- like., wherein oSMajefy and (frace oughts to
be reprefented. cj "Moreover ibis proportion may be applyed
unto Queenes of Middle-age ; or unto any other bonejl , fair and
grave women ; and doth mofl properly appertain to our Lady .

Of the Proportion of a W oman ofjfine Heads.

'"THough 1 might defcnbo divers other proporti-
ons of Bodies ( albeit" of fmall worth in refpedf
of the principal) yet I purpofe to pretermit them-.,
as well for thein* fmall ufe, as for brevities fake,
whereforo concluding the Principal and moft Re-
gular-* proportions, I come to the reft, and Firft to
that of Nine Heads , which being very flender and
comely, as reprefenting the third Degree of Peauty ,
may be givens not only to VA4inerva-j, but alfo to
Diana for her fwiftnefs and agility i as alfo to the 3\ Qrnphs
ot the Rivers, and to the Mufs> though with divers
attire, in_j regard of their place. This proportion-/

is

or Symetry. £3

is from the top of the head to the Chinn, a Ninth Part
of the length. The Face from the Root of the hair ,
to the Chinn, may be either a tenth or eleventh Part",,
as shall pleafethe Painter. This divided into Three equal
Tarts, the fir /l gives the Fore -head , the fecond the 3\ (fife , the
third the Chinn .

The Troportion of a VF oman oj [even heads .

TT was not without good Ground, that the old Cfra-
cians made the goddefs Vcfla but Seven heads high ;
bccaufo this proportion is Cjrave and <TA4atrone like,
and therefor o was attributed to the Earth, the com-
mon Parent" of all things. Belides you may give it
to any other. goddefs, which hath any kind of re-
femblancej with the Earth, as alfo to the more ftaied
and antient fortr* of Women , wherefores it were a
great overfight to give a flender and delicate propor-
tion to the Sibi/ls or other Grave and Sage Trophetejfes $
as it were like wifo to make a Trophet with (uch a pro-
portion as belongeth to young Men,

sJt Qoild of fix Heads is thus measured , dividing the body
into fix equal parts , whereof the Head mujl be one.

T Child of fiveY leads is thus meafured, dividing the body
into five equal parts , 7 vherofithe H ead mu (l be one.

Child of four Heads is thus meafured, dividing the body
into four equal parts , whereof the H ead mujl be one .

The Teafon why I have not given T)cfcriptions or Tqiles, upon
all the particular defignes upon the Plates, farther then the
Side- way, or Triangle , F ore-right drFore-short-
ening, is becaufe I thin! fit unnecejjary , unlefi you could
force T)ame N at urc to obferve the fame method , with them
antient Tides of Alberta Durera or foufine, the grand
r F 2 reafon

The Art of Painting.

' reafon u becaufe every Trint /hews its dcjigne of itfelf , to
any one that, is Ingenious , obferFmg the due difances, and
lights.

The Definition of Painting.

Pointing is an Art which with proportionable Lines , and
(Colours answerable to the life , by ob frying the Ferfpeclive
Li?ht , doth So imitate the Nature of corporal things , that
it not only repreSentetb the thicknefs and tendernefs thereof upon a
Flat, but alfo their odious, andgejlures, expre fling moreover di-
vers affections and pafsions offthe Mind .

For the better unfolding of which Definitions
we mu ft underftand thatr* every 5\ (atural thing con-
fifteth of Matter and Forme : W hereunto (fenus and
Difference in LogicI^, whence the Logicians fay,

that (fleniis dcchzcth the E/fence o( things, and Difference
of their Forme and Effential Quality9. Wherefores I
think it not amifs > according to this DoBrine, to lay
open the above named Definitions, by expound-
ing all the Differences whereby the Arts of Tainting is
diftinguished from all other dArts and Sciences • the
1 genus then in Fainting is Art , which is prooved by
twoReaforis. The Firfl; is drawrs from the Defi-
nition of d/lrt it felf> which is nothing elle but a_>
luro and certain Rules of things to be made, the
Second from the Fflatural things themfelves, which
are a Fu/e and AALeafurc to the greater Part of the
Arts and Sciences, in the World (infomuch as they are
God s creatures, and confequcntly indued with all
inch Perfection-; as their Nature is capable of, and
therefore may well be a certain-- Rule to Artificial
things.

Hence

The Art of Painting. if

Hence it appeareth that Taint ingAs an Art, becaufo
it imitateth natural things moft precifely , and is the
counterfeiter and (as it were ) the very Ape of nature ;
whofe Quantity, Eminency and Colours, it ever ftriveth to*
imitate, performing the fame by the help of (geometry ,
Arithmetic Terfectire , and Tfatural Thilofophy , with
moft Infallible Demonftrations, but hecaufe of Arts
fome be Liberal , and fome Mechanical , it shall not^
be amifs, to shew amongft which of them Tainting
oughi^tobenumbred. Now Tliny callethit plainly
a liberal Art , which authority of his may be proved
by reafon, 'for although the Painter cannot rahtting u a Li:
attains to his end, but by working both lcraL'*1t'
with his hand and pencil, yetthere is lb little pains and
labour., beftowed in this Exercife, that there is no
Ingenious Man in the World, unto whofe Nature it is
not moft agreeable, and infinitely pleafant.

For we read of the French King F rancis, the Firft
of that name, that he oftentimes delighted to handle
the pencil , by exercifing , drawing and painting ; the liko
whereof is reported of divers others Princes, as well
antient as late; amongft whom I may not conceal
Charles Emanuel Duke of Savoy , who (in all other He-
roical Venues , fo amongft other Liberal Sciences in this)
imitated and moft happily equalled that great-'
King Francis his (grand- father by the Mothers fide, fo that
in thefe and the liko Exercifes, nothing is Taf}^ or
TAl echanical , b u t a 1 1 Afoble and/ ngeniom .

For to fay the truth; what Princo or Ingenious
Man is there, which taketh not delight" with his
pencil to imitate Cjod in nature, fo far forth as he is able :
Farthermore it cannot be denied, but that" the (jeo -
metrician alfo worketh with the Hand \ by drawing Lines,
as Cycles, Triangles , Quadrangles and fuch like Figures j
neither yet did ever any Man^ therefore accounts

G Cjeome*

z6 The Art of Painting.

geometry a z5\fecbanical oJrt, hecaufe the Hand-labour
therein imployed is fo Height, that itwere an_^ ab-
furdity in refpeft thereof, to reckon it a bafe con-
dition.

The like reafon is there of painting, the Pra&ice^
whereof, doth fo little weary a Man, that he which
was (oble before, cannot juftly be reputed Safe by
exercifing the lame; butifbefides all this, we shall
farther confider, that Tainting is fubordinate to the
P erfpeftives, to 0\ (aturdlphilofopby, and geometry (all which
Out of queftion_-> are Liberal Sciences ) and moreover
that it hath certain^Demonftrable conclufions, de-
duced from the Firft and immediate Principalis
thereof, we muft needs conclude that" it is a Liberal
zArt.

S\(ow what k[tid of L iber al Arts it is (to omit all other proofs )
may eafily appear by the forefaid Definition $ where it is firfi
faid , that it reprefentetb upon a plain , the T hicknefs and round-
er Diffmnc n n efs of Toddy things , not excepting any , either N a-
tural or Artificial, whereby we may gather that it belongetb to
the Painter alfo to reprefent Pallaces, Temples, and all
other things niade_j by the hand of the Artificer.

Moreover it is faid, that it reprefenteth the Figure
upon a P laine_j , and hereby it" is diftinguished
from Caning ( though not Efjentially , but onely Acci~
dentally (as it is faid in the Prom) by reafon of thedi-
Verfityof the matter, wherein both of them repre-
fent" natural things which imitateth Nature likewife,
though it exprefs the perfeft roundnefs of the Bodies
as they are created of Cfod, whereas the P ainter repre-
fenteth them upon a Flat" Superficies : JVhich is one of the
chicfejl reafons , why Painting hath ewer been preferred before
Carving.

Becaufe by meer Art upon a Flat, where it findeth
only length, and breadth, it reprefenteth to the Bye

the

The Art of Painting. 27

the Third Dimenfion, which isroundnefsandthick-
nefs; and To maketh the Body to appear upon a Flat ;
where naturally it is not.

Furthermore itis added in the Definition-. : that it
reprelenteth the DodilytSM otions, which is moil
true, for in that moll Famous picture of the lalt judge-
ment, done by the Hand of the Divine Michael Angelo, in
the Popes Chappel at ‘Rome, who fees not what moti-
ons may be exprefled in Bodies, and in what order
they maybe placed; there may you fee our Lady, St.
John, and the other. Saints reprefented with great Fear,
W’hileft they beheld fhrifi moved with indignation-,
again!! the wicked, who feem to fly away and hide
themfelves behind bis Back, that they might no£j
behold his angry countenance wholly inflamed with
indignation-, : There shall you behold the guilty,
who being aftonished with Fear, and not able^ to
indure his glorious pretence, feek dark Dens and deep
Caves to hide themfelves in.

On the one fide, you shall findethe Saints teeming
( in a Sort ) to finish the <lAB of the refurredtion, at-
tending up into the Aire , to be placed atr* the right
hand of Chrijl : On the other fide you would think
you faw the Angels coming down front-. Heaven with
the Standard of the Crofs : And on the other, car-
rying theBlefledSWei tobeplacedat the right hand
of God. f

And to conclude there is m corporal rShdoiion , whether it be
forwards, or backwards ; on the right hand, or on the left-, upwards $
or downwards, which may not be fen expre fed, intbismo/l arti~
ficial and admirable Picture, but if we jhall farther confdcr the
pafions and motions of the hSAAind, whereof the Definition maketh
mention likewife, they are alfo to be found in the fame work , with
no lef Aft then admiration to the beholder , efpecidlly in Chrift

© Ts iff

2g The Art of Painting.

in whom you may fee W rath and Indignation^ fo kindled) that
he feemeth to be altogether incen fed therewith* , .

Again-* both in the Saints,, and damned
'.MdJddln Soules, be i ne appalled, and confufed, is mod Jive-
defter*" fear, lyexprefled, an exceedin g dread and horror
of the wrathful! fudge, and in a Word, many mo-
tions as well of the Body , as of the Mind, are to
be found in tho Works of this Divine Ponaraot , of
the rare ‘Raphael Vrhine , and of other worthy "Painters
both old and new, as well of love as hatred, fadnefs as mirth ,
and all other pafiiom of the Mind.

All which reprefentations are; after declared in->
that parr" of the Definition, where it is (aid, that"
Propor. tjti* Painting, with proportionable^ lines maketh,
&c. where we muft Note that?" the Painter in his de-
feriptions, doth not draw lines at raildome, without
Rule, Proportion , or Art, ( as fomo vainly have imagi-
ned ) fince the Arrantefl Dumlers that are, proceed with
l'omo little Method, and although Horace in his book
de ArtePocticai aith : that

The VoQtamlthe Painter, hath likp Patent to invent,

asl S tor y and dljpoje the fame as fall him be{l content.

Yet that-; is thus to be underftood, that it is law-
full for him to exprefs re Figure, in what a£lion_> he
lift, as in shewing fulius C^far in the P barfalian IVarr +
in fome adion, which peradventuro he never did 5
asfetting him in thcPatpard, when he perchance was
found in the %erewrd , or reprefenting him encourage-
inghis Souldiersto^Wcwr which perchance he never
did; this only excepted the f ainter is bound to pro-
ceed in all his Works according to proportion and art.
Whereforo before you begin to Stell, delineate or
trick out the proportion of aMan, you ought to know

The Arc of Painting.

his true Quantity and Stature for it were a grofs abfurdf
ty to make a Man_> of the length of Eight Faces ;
which is of Nine; or Ten,befides this, we ought to
know whatr' proportion the Fore-head hath with the gfe,
the (ofe with thee JVfouth and the Cb'mn, the whole
Face with the 3\fecl^, and in a Word to learn the true
proportions of all things natural and artificial.

Now becaufe it feemeth a matter of great*' diffi-
culty, and almoft impoffible for one Man to attain^
to the full perfe&ion^ of all this Kjwn>/edge_j, we may
propofe unto us the Example of the mod judicious
nApelles , who when he undertook any fpecial piece
of fForh^, wherein he meant to shew the utmoft of
hisSkill, he ufed to Hang it forth to publique View,
hiding himfelf behind, to the end he might" hearken
what every Mans Judgement" was* concerning the
proportion And IF orkman-fkip thereofand according to each
manscenfureoffuchthings as appertained to their pro*
fefiionsi He ftill corrected his work, as on the contrary
fide, he did confute and reprehend the cenfures of fuch as
would take upon them to give their judgements of fuch
things as appertained not" to their profefiions ( as did
the Sboemalter, who not content^ to find Fault with
the Shooeof one of his TiBures, would needs cenfuro
the othet^ Parts ) unto w horrid he anfwered, ne Sutor
ultra crepidam.

Furthermore^ the Tainter ought to ob« tftt not the Shot'

» s\ 1 __ , . i » mailer frtfumt b$~

ierve an Order and i5kf etbod in thole propor- ^/>-

tionablo lines therein, imitating future in heii>
proceedings; whofirft prefuppofeth Matter being z>
thing void of Forme, ‘Beauty, Bound , or Limit, and af-
terwards bringethin the Forme, which isabeautifull
andlimitedthing, in like fortr” the Fainter taking £»;
Tanel or C. C in the Surface whereof there is nothing

H Eu#

30 The Art of Painting.

but a Flat and plain-* Super-fries, without Beauty do
Limitation-* of parts J he trimmetb , primetb , and limiteth
it by tracing thereon-* a zSMan, a Horfe, or a Cullumney
forming and tricking the true proportion^ thereof, and
( ilia Word) Imitating by lines, the Sfaturc of the thing to be
painted in breadth, length, or thicknefs.
x*. And becaufo in this place there fallethouto a
certain^ Precept of zSSLichael dAngelo, much for our
purpofe, I will notconcealit, leaving the farther in-
terpretation and underfunding thereof, to the judicious
Reader. It is reported then that Michael dAngelo upon
a timo gave this obfervation to the Fainter zSMarius
deScinaJ* his Schbllar, that he should al way es makea_?
Figures Fyramidal, Serpent like, and multiplyed by
One Two and Three, in which precept .( in my O-
pinion^) the whole zSAIyflery of the <L/frt confifteth,
for the greateft (grace and Life that a'P tdure can have*
is, that it exprefs motion 5 which the P ainters call the
Spirit of a P tUure. Sfow there is no Form_> fo fit to exprefs

tbisNLotion, as that of j/^FlameofFire, which according to
Ariftotle, and the other Philofophers is an Element mof
active of all others, becaufc the Forme of the Flame thereof is
mof apt for Motion, for it hath a Conus or floarp Point where-
with it j'eemeth to divide the Aire that Jo it may afcendtohis proper

format Will be mojl

Now this is to be underftood after^ two forts:
either that the Conus of the P iramis be placed upwards,
and theFafe downwards asin theFire, orelfe contrary-
wife, with the Fafc upwards , and the (forms downwards :
In the F irft it exprefleth the width and largenefs of a
P i£fure, about the Leggs and Garments below, shew-
ing it (lender above, P iramidal JVife , by di (covering
one Shoulder , and hiding the other, which isshort-
ned by the turning of the Body j in the Second It

sheweth

Sphere, jo that Picture having this
beautiful/.

The Art of Painting. 31

sheweth th c Figure biggeft 111 the upper Farts, by re-
prefenting either bot&th c Shoulders, or both the Amies ,
shewing one Legg and hiding the other, or both of
them after one fort, as the Skilful! FaintershaM judge
fitted for his purpofe, fo that" his meaning is, that
it should referable; the Forme of the letter S placed
right, or elfe turned the wrong way as co becaufe
then ithathhis ‘Beauty: Neither ought he only to ob-
ferve this Forme in the whole Body, but eveji_, 111
every Part; fo that in the Leggsy when a AMufcle is
railed outwards on the one fide,that_; which anfwer-
eth diredtly on the contrary fide, muff be drawn-*
in and hid, (as maybe feenein the life,)

The lajl part of Michael Angelo his Obfervationwas , that
a Picture ought to he multiplied by One, Two, andt Three,
and herein confifeth the cbiefefl Skill of that Proportion^
the Diameter of the biggcjl place between the K nee and the Foot
is double to the leaf , and the large f part of the T high triple.

But to return to the Definition , that part
remaineth to be expounded, wherein it is laid that
P aiming reprefenteth things with Colours , like to the
Life; whence it is to be marked that the Artificial painter
ought to proceed according to the courfe of JA (ature y
who firft prefuppofeth Matter (as the P hilofophers holdj)
unto which it addetha Forme , but becaufe to create
the Subfances of things proceedeth from— > an infinite
power , which is not found in any creature ( as the
(Divines teach) the Yainter muff take fomething inftead
o £ AM alter, namely Quantity proportioned? which is
the Matter o f painting, here then th o Fainter muff The mtter
needs unde lit and that_j proportioned Quantity , °fPainant-
and Quantity delineated, are all one, and that the fame
is the Material Suhftancc o 1 Fainting , for hemuftconfi-
der, that although he be never lb Skilfull in the ufc
of his Qoloursy and yet lacketh this Delineation he is

H 2 ukf

32 The Art of Painting.

unfurnished of the Principal Matter of his An, and
confequently of the fubftantial part-> thereof, nei-
ther let any Man-; imagine that hereby I go about to
diminish the power and vertue of colour , for if all parti-
cular Men should differ one from another in Matter
alone (wherein out of all doubt all agree) then all
Men mud needs be one, andfo that-'moft acceptable
variety of fo many particulars as are now in the world
would be wanting ( which variety is caufed by thofo
mdividu^m Seven particularities which the ‘Pbilofopbers call
gua/hates. particularising Qualities , ) thatis Seven fubftantial

accidents , which caufe tho particularity and Jingularity of
fubjlances , fo if the Fainter should only Fourtrait out a
Man in juft Symctry agreeable to «5\( 'ature* certainly this
Man would never be fufficiently diftinguishedby his
mere Quantity: But when unto this proportioned Quan-
tity he shall farther add C°t°ur> then he giveth thelaft
forme and perfection to the Figure : Infomuch, that-' who-
foever beholdeth itr' may be able to fay, this is the
P iCture of the Emperour Charles the Fift, or of Y bilip his
Sonne, it" is the picture of a z5\d elancbolich^ Flcgmaticl
Sanguine. or Cbolericl^Fellow, of one in love, or in fear
of a bashful! young Man, &c. and to conclude the
picture will attain to fuch perfection, that the party
counterfeited may eafily be known thereby : Where*
fore I adyife the Painters to be wry skilfull in the u[e of Colours,
as in that wherein con/iftetb the wholes perfection op his Art.

Fainting And in this point alone is painting diftin-

ftT- guished frorrL_^ all other <zJrts, and chiefly

from (farvmgy becaufe inprecife imitation of the life
the painter performeth much more then the Career is
able, for the Careers intent is only to give thefelf fame
quantity to his Figure which his 3\ (atural pattern hath, fo .
that his [pedal purpofe is to mako the Figure equal to
the life; which cannot therefore be (aid to be per-

The Arc of Painting; 33

fc£ily like thereunto, beeaufe Thylofophj teacheth us
that Similitude, is not properly found in Quantity ,
but in Quality only: now the C°l°ur which the 'Painter
ufeth, givingthereby the Similitude and proper %efem-
blance to his counterfeits , is molt truly and properly Qua-
lity, and although we ufually call ono thing like to
another, when-j it hath the fame Quantity, yet this is
an improper fpeech , for if we should fpeak properly,
we should call it Equal and notr' Like, wherefore Si-
militude is found only in Quality , and Equality, which
the Career conlidereth only in Quantity , but the Tainter
doth notr'only endeavour to give the true; and juft
quantity to his figure y by making it_? equal to the life*
as the carver doth, but moreover addeth quality with
his colours, giving thereby both quantity and fimilitude *
which ( as hath beetle proved ) tho carver cannot
do.

Now the Tainter exprefleth two things with his
colour : Firft th c colour of the thing, whether it be arti*
tificial or natural , which he doth with the like colour , as
the colour oi a bleu? garment with artificial bleto , or the green
colour of a Eree with a lik e green : Secondly he expref-
feth the light of the Sun , or any other bright Body
apt ro lighten^ or manifeft the colours, and beeaufe co-
lour cannot be feen_j without light, being nothing
elfe(as the Philosophers teach ) but the extrea Super-
ficies a dark untranfparentr'Body lightned, I hold
it expedient for him that will prove exquifito in the
ufe thereof, to be moft diligent in_>fearching out*?
theeffedsof light, whenitenlightnethcto/r, which
who fo doth ierioufly confiden, , shall exprefs all
thofe effeds with an admirablo(/r^5 andakhougH
the be equally difperfed through all the Parts of
a garment, fo that there is no more in one part therL^ in
another; Yet notwithstanding when it is illuftrated

I by

34 The Art of Painting.

by any light, it caufethone kind of brightnefsiio
that part where icftrikethmore vehemently , tlierr. an-
odic r, in_> that part, where it shineth lefs.

Now when the 'Painter would imitates this blew thus
lightned, he shall take his artificial blew colour, counter-
feiting therewith the blew of the garment, but when_,
he would exprefs the light , wherewith tho blew
feems clearer, he mull mix fo much "white with his blew,
ashefindeth light in that part of the garment, where
the ligho ftriketh with greater force, confider-
ing afterwards the other part of the garment , where
there is nor' fo much light, and shall minglo lefs
white with his blew proportionably, and fo shall he'pro-
ceed with the like difcretion_» mail the other parts:
and where the light falleth not.; fo vehemently, but
only by reflexion-* there he shall mix fo much sha-
dow with his blew , as shall leem fufficient to repre-
lent that light, loofing itfelf as it were by degrees,
provided alwayes, that where the light is lefs darkled,
there he place his fbadow ,

In which judicious expreffing of the effects of light
together with the colours , ‘Raphael Vrbine , Leonard V in-
tent, zAntonius de Qoreggio and Lilian wero molt admi-
rable, handling them with fo great diferetion and judge-
ment, that their ‘Pi Hare; iccmed rather natural, then_*
artificial ; tho reafon whereof the vulgar. Eye can-
not_> conceive , notwithftanding thefe excellent
EALajlcrs exprefled their chiefeft art therein, con-
lidering with themfelves that the light falling up-
on the flefih caufed thefe and fuch like ejfe&s , in_*
which kind Titian excelled tho reft , who as well
to shew his great Skjll therein, as to merit commendation,
ufed to cozen_>and deceive Mens Byes, the like did
tS\Lichael zAngelo who to mako proof of his Angular
infight in the z Anatomy, inclined fomewhat toward the

Ex-

The Arc of Painting;

Extream, by railing up his tSMufcles a little too 'hard;
and by this means shewed the eminencics and riftngs,
in which naturally they were (mail, as in tho Body
of thrift, &c.

Again Titian to make known his art in lights arid Jba-
dows, when he would exprefs the lighted: part of the
‘Body uled to add a little too much white , making it"
much lighter then his pattern, and in the obfcure-> parrs;
where the light fell by reflexion, a little too much / hadmf
inrefemblancoof the decay of the light in that part of
th eBody, and fo his Wort ieemeth to be much raifed,
and deceives the/g/tf, for the light which cometh to
the Eye, in a Byramidal former >(as shall be s hewed i n_, the
enfuing difcourfe)cometh with a blunter and bigger Jnole,
andfo is feen more evidently, whence ariieth a won-
derfull eminency , the efpecial caufe whereof is, be-
caufe there is much more fhadow thenneedeth inthar'
pdrt, where the light decayeth mofts fo that the vufuai
lines failing, that part cometh to the Eye in an accuter
and Jkarper angle , and therefore cannot-' be feen fo
perfeddy, infomuch that that part-' feemeth to fly
inwards, and (land farther off. Thus when the Four
parts of a Body are much raifed , and the hinder fly fufflciently
inwards, there appeareth very great heightning, which
giveth a wonderfrll Spirit, and after this fort Titian beguiled
the_j Eyes of fuck as beheld his mofl admirable Works 0

. » ** ' ' r ♦

*■ 4 • * l - ri £ • < . •

Of the Vertue of Light »

T Ight hath fo great forco in TiBures , that ( in my
^ judgement) therein confifteth the whole^mr^ there-
of, if it be well underflood, an contrarywifey the dife
orace__j if it be not perceived * and evident examplo
whereof we may fee in 2u Body proportionably drawn ,

I % which

3(5 The Art of Painting.

which being yet withour his lights , sheweth very
beautiful l, fo far forth as it is wrought, but if after^
wards itr' shall be (hadowed without judgement and arti
fo that the fhadowes be confufedly placed where the
lights ought to be, and contrarywile the lights where
the Middle of the Jhadows should be, and the conca-
vities and convexities dilorderly fuited* without any
Imitations of 3\(ature it were better it had never beeri
either drawn or lightned, whereas having lights well dif-
pofed, it doth not only add perfections to the draught
but fo fets it off from--/ the Flat that it feems to be
imboffed .

And in this venue and power confifteth the chiefeft
excellency of the Fainter: Infomuch as this point
moflproperly concernethhim_>j by making his coun-
terfeits feem to be as much raifed, by reafon of the
ftriking of the light, as they are indeed in the Carvers work*
by reafon of the matter,whichf as all Men knowjhath
height and depth , the right fide and the left , the fore-part and
the hinder , wherefore they fay that the thing which the
Carver intendeth to make, is in the CAFarhle, which
afterwards becometh good or bad , by cutting and forming ,
but to return to the light , I fay this moreover, that
although it be of fuch efficacy, that it diminifbeth the grace
of the draught; whereit wanteth (asisfaid) yetthe/nar-
tificialnefs of the draught cannot difgrace it, whence we
fee, that if the lights be well and proportionably bellowed
throughout a Body, which is ill proportioned and without
aSAFuJcles, it contenteth the Eye of the beholder fome-
what the more, by moving him to a defire of feeing
the ^M.ufcles2S\6. other ncccflary parts, in fuch a Body
as in the Figures of Bernard, Zenale, FriViliano , viz.
the glorious refurre£lionof Chrijl painted by him, over,
the (fate in the Cogent of the (Jourch of Cjrace^j> in <*J \\tilane%

The Art of Painting. yf

and many other Hiftories of his doing as well in__,
colours , as in blacl^mdypbite, in tbefame place.

Wherein may be feen TiSures, made without Mufcles ,
and other neceflary accomplishments, for the moro
gracious representation of Sye^p leafing perfection, but yet
well placed, and with their lights ; mod artificially dif
pofed in their places , infomuch that they leem_> to
be imhoffed outwards , fuch is the force of thefe lights
in which you shall alfo find admirablo perfpeClives and
forefhortnings , wholly proceeding from the orderly dif-
poling of the lights i without^ which thefe draughts
would have proved imperfeCt , looting much of thatr
grace, although they were well placed, fo that- wo
find many Tainters , who being ignorant of the art of
proportions , only by a little pra&ice, in difpofing their
lights in fome tolerablojw?, have notwithftanding
been reputed good <zjrtifls> which commendation^
they defervenot, becaufe they neither have the Art
of pcrfpeCthes nor the true reprefenting of any of the
lights .

Now for aio Example of the true art of exquifite
bellowing of thefe lights , that Teece of Le: Vincents
mongft many others, may ferve us,infteadof all the
reft of his well lightned TiCtures , which is now to be
found iro^. Francis Church in zSALilane, where he hath
painted the conception of our Lady 5 which (to omitr'
other excellencies therein ) is molt fingular in this
point, for the perfections of lights ^ thofe two pieces
doneby the hand of <• Antonio ConegglQ are mofl: admi*
rable, which are yet to be feen in the famo 4
with Cavalier Leon: dAretino , in one whereof is painted
fair fo, with fuptter upon a Cloud, and in the othfE*
Danae and fupiter defeending into her lap in the forme
of a Lj golden fhomr, with Cupid and other Loves, having
their lights fo well difpofed, that I dare boldly fay >

&

38 The Arc of Painting.

no other Tamer is able to match him in colouring and
lightning ; which Degrees were fenL_> him out of Spain,
from his Sonne Tompey a carver. Moreover cSMichael
zJngelo, and Raphael Vrhine, the Fathers and Mailers
of painting are reputed moil rare and divine in lights, out
of whole S ebooks I may truly fay.almoft all the famous
T aimers of Italy havo attained to the worth of their
fame .

Now then-dnfomuchasthefe//£^p, are of fo great
vertue, we ought toufe all diligence^ for the perfed
attaining to the knowledge thereof, by applying them
to our draughts, as is shewed, infomuch as the art of
proportion , motion and forefbortning, hath but (mail ule or
commendation-* in a Tainter , without the knowledge of
thefe lights, found out by reafon and art, and .not taken
by bare imitation^ from the imbojfed models, under a_*
falfe apprehenfion of the light , without order or di-
fiance , as alfo in the lines and fuper-ficies of Bodies :
wherefore they prove falfe, and altogether contrary
to the rules of art. ayfnd thus much / thought goad to not^
concerning this point"" purpofng now to begirt he treat i fe 0/light
it felf, by the afiflance of hints who inlightneth theunderfland-
ing offuch as fubmit themjehes unto hints, with a pure *5\4 ind wholly
prepared forthereceivingof fo divine beams.

Of the Ufecefity of Light.

IT appeareth by that-* which hath been_> hither-
to fpoken, that a peece of painting drawn-* in propor-
tion having his truo motion, and put in colours with-
out the lights, is like a Body in the; dark^, of whole
Quantity or Quality a Mancannor' judge , fave only
by the help of his underftanding, thatr" is by that inward
conceipt he hath of the thing, and not by any outward ,
infomuch as it is hidden from the external light y which

con-

The Art of Painting. j p

concurring with the internal , by means of the ‘Beams
proceeding from tho Eye , makes the diverfity of
Bodies known-; to the underftanding, after the fame
manner, as they receive their light naturally.

Wherefore l will handle the lights, Jaying nothing of the
shadows, although they be handled together with them , for the
shadows do necejjarily follow the lights , being caufed by the
decay of the light , taking fo much the more force , by how much
the more forcibly the light flrikgth upon the Body, whence^
arifeth that exceeding great raifingW heightningtf/^ no*
tural plain, in a Body receiving the light according to bis proper
nature.

And by this we shall know, how the lights , reflecti-
ons, and natural rebatingof th flights, do vary, according
to the diverfity of the Bodies, by altering them-* as
shall be faid, wherein alfo we shall fee; the very per-
feBion of th cart- for without this, neither order , forme ,
proportion , motion , compoflt ion, or figure •, can attains to their
perfeBion, like unto a Body without*' [cituation or fpirit,
or to counterfeit Starrs without^ the light of the Suns
giving them their brightnefs anfwerablo to their
qualities , whereby they may be feen. But" now as
touch ing my propofed matter, I willFirfthandlo the na-
ture of light, and afterwards ( by the help of Ufatural
Bhilofophy and tho Opticky , beingtheFirftpartof tho
perfpeBives ) I will fpeak in_> general of the primary and
fecondary lights , then of direct and reflected lights , afterwards
how by (^Mathematical rca[ons,div css dift:in£t lights may
befeen, by reafon^ of the variety ofthe Bodies, and
finally of the qualities of things appertaining there-
unto, how it may be underltood in all things, and in
the Elements themfelves-

K i

Of

4o

The Art of Painting.

Of the S\Qtture of Light

THis WordZ/^isdiverfly taken : Firf and principally
it_> fignifieth the Image of that~> T>ivine Sfature
which is the Sonne of (jod, and the brigbtnefs thereof,
which tho Tlatonick* called the Image of the dhine mind.
Secondly the comfortable operation^ of the Holy (f boll :
Thirdly that divine venue, which being diffufed through
all the creatures* is in Men their divine grace, and in
all other living creatures > that power whereby they
are preserved and defended, as that" of the Seraphims ac-
cording to TDionyfim : Fourthly that intelligence; in
the ^Angels, which breedeth that Joy in them, which
pafleth our underftanding, yet diverfly received,
according to the diverfity of the intelligence ap-
prehending it, as sSAdarcilius Ficinius upon_j Flato not-
eth: Fifthly in the Heavenly Bodies it" caufeth abun-
dance of Life, fignifyingan_; effeftual propagation, and vi-
able bright?iefs in the Fire , with a_> certain accidental!
power proceeding from the fame : Sixthly it^is taken in
Men for the Light of their ^^underftanding, which
illuminated! their Tatient or paffable underltanding;
(and in a WordJ for the difeourfeof reafon, and the
knowledge of divine things : Lad of all it fignifyetha
quality proceeding from the Sun or the Fire , which fo
difeovereth colours, that they may be feen, and this
( as the Teripatcticki lay ) is the caufe of Formal %eafon,
whereby coloured things are feen, whofe Shapes and
Images pafs to the ph ant fie , and efpecially enlighten the
Eyes, in which the Image is formed, which Firft paf-
ethtothe common fenfe, afterwards to the phantafe, and
laftof all to the wider /? anding, this Light is difperfed and
extended unto all Bodies that are openly propofedunto
it, in which colour , and a hemtifull resplendency of thick

and

The Art of Painting.

O

4f

and dark Bodies is difcovered fas the Tlatonicl^s fpeak)
caufed by this light , together with certain beneficient
and generative venues. But where the Sun • beams Ea\\ not5
and are not at all difpetfed, there (the beams of tlio
Eye being retrained ) remaineth a darl{ colour, which
difpleafeth? and evil effedeth the mind, fo that all
things according to their capacity , feel the power of
the light , which joyning all Creatures to.it felf by
this lively heat , and piercing through them_> all
giveth to each of them his proper Quality and Ver -
tue. , f

Whence thofe who are judicious in this Art, ufe to
give lights to all things after one and the felf famo
manner ; infomuch as we fee? that the Sun riling above
our Horizon , lightneth all things in an inftant, the reafon
whereof is, becaufethe light hath no contrary which
might hinder it, with his aflion. fVherefore^j it perfotmeth
his operations in the Air, in an infant.

And hereunto appertaineth that, which the Tbs*
lofophers fay concerning the darknels of th cSyjght, that
if' is not caufed of any dark or black colour , which
coloureth the Air, butr' only by theabfence of the Sun;
whofe prefenccj) and brightnefs equally lightneth our whole
Hemifyhere, and would in like fortr lighten the whole!
Earth , together with all compound Bodies? if they
were transparent as the Air is? but being Opake, thicl^and
corpulent , they receive not the light inhis perfed bright -
ne[s, fave only in that part which is direUly oppofite to
the Sun , and therefore in this our Hcmejphere ( becaufe
the Sun never pafleth perpendicularly over our Zenith) the
Earth can never be fo Ibhtned, but that one fide ot b-

o

ther of it will be fhado’wed , which happeneth unto
thofe parts , which lye direBly under the equinoBial line ,
where the Sun at Noon doth fo lighted the Earth, and
the inhabitants , that it giveth light to the whole dr cum «

L jeremi

42 The Art of Painting.

ference of round Bodies, and there is no Jhadorv feetl
unto the very Feet. Whence the judicious in this Arf,
forbid us to give 1 i ghts in a p ndure unto all ‘Bodies, after one and
the j elf fame manner.

But befides this confideration-; of the light illumi-
nating, and the Earth with all earthly Bodies lightned ,
there is another more forcibly rea/on drawn from the
grounds of the z5\d athematicks, vi%. from the vifual lines
o f perfpettive, together with the Eye , for the better
underBanding whereof we mull note , that Three;
things concurs to our fight, the visual lines, the coloured
Body, and the faculty ot feeing, which is in our Eye ,
the Vifual lines lightned ( which are the proper Matter
and fubjed of the perjpeclives ) come to our Eye in a_>
! Pyramidal Forme, theBafe of which Tyramis reffeth
in the Objed, and the conus or angles thereof, cometh
to ouri £ye more blunt and obtuje : And hereby we lee
the Object more plainly andjdiBindly *, but if tho
Objed be afar off, the conus or angles of the Tyramis
comes to the Eye fJjarpcr and lejjer, and them.; our Eye
cannot^ difeerne it fo clearly as otherw i fe it would.

Secondly it is to be noted, that the Objed com-
eth not" to our Eye , but the Vifible fpecies or Jhapes aro
diffufed through the clearnefs of the aAir unto the Eye ,
which fpecies are nothing elfe but certain-* Images, like
unto thofe which we lee in_>a glafs, when a Man or
any thing elfe Banding againff it", is reprefented
therein.

And if the coloured Body or Objed Band neer to this
Image, it comes to our Eye in the lame quantity and big -
nefl of the angle of th cTyranus : Now becaufethis angle
comes to our Eye in an obtufe and blunt form, the Image
alio feems great, .and fo is difeerned more diBindly,
but when the coloured Objed Bands afar off, the Image
comes to the Eye in a very [mall and / lender angle , and

there-

The Art of Painting, 4?

therefore filleth nor1 the Eye, butwavercth in fuch
fort, that it cannot bo clearly and dijlinctly difcerned.
As touching the Third I have no more to fay, but
that the faculty of feeing is reduced into Art , being
formed by the concurring of the other Two things
required before, vi^ the vifual lines , (without which
the Eye cannot feej) and the Image of the coloured Body*
which informeth the Eye, by reducing it frono meer
ability into aft, and informing it more perfe&ly with
a great ^ Image, by performing his operations better,
and caufing the thing to befeen moro apparently and
diflinBly : whereas with the fmall Image of a thing too
fardiftant, the Eye cannot be fo well informed, and
therefore it cannot lee the thing perfectly.

From.; 'which grounds, I draw thefe Two reafons, why the felf
fame "Body cannot be lightned equally in all places.

TheFirftis becaufethe light doth nor" with all his
brightnejs illuminato any more then that part, which
is diredly oppofito to it , being not able to illu -
jlrate the other parts fo perfectly, by reafon of the Na-
turo of the dar\ Terrene, and grofs Body, which fo
hindreth the beams , that they cannot pierce inwards , and
performe their cffeBs perfectly.

The Second reafon^ is taken from the 3\fature of
our Eye, for as the Firft part of the Body is feen and
placed nezveft the Eye,, comes unto it with a bigger angle ,
fo is it alfo feen_j more difhnBly, becaufe it is moro
lightned, but the Second part thereof, being farther^
of comes to the Eyeiroa le/Jer angle, and being lefs
lightned, is not fo plainly feeru as the Firft, and by this
rule, the Third part will be obfeurer, and fo the Fourth
proportionably until! the Eye canlee no farther.

Now if you ask mo what the Fainter ought to do,
when-/ he would paintTwo, Three , orfwMen,ftand-
ingone behind another, all of them equally receiving

L 2 the

44 The Art of Painting.

the light, I anfwer alwayes according to the former
DoBrine, that although they be equally lightned, yet we
muft paint the Second which is farthej offfrom_> the Eye
darker , and the Third more then him , and the Fourth
molt of all, &c- untill our Eye can fee no more.

The readouts because the Second [landing farther off, cometh
to the Eye with a lefler angle , wherefore he cannot be feen
fo evidently as the F irft, the fame reafon there is of the T hird, &c.

The fame is alfo meant fide-long. , wherefore what-
foever F aimers have obferved this FoBritie^ have be-
came excellent , and nothing itf/mowr to the chief Majlers
of this <*Jrt, as Le: V incent with divers others named be-
fore, together with fac\ Tintoretto tLAlarco de ScincL^i
Frederick^ Faroggi of XJrbine , Faulus £ aliarius ol V erona y Lu-
cas C jangiafus , the Faffans , and Ambrose Figinus.

S\ (o\v the whole Do£trine delivered in this prefent (fhapter is
(l for the moll fart) taken out of Ariftotle, Alhazen, Vitel-
lo, Thomas Aquinas, and (to conclude) out of all the bejl
Philofoph ers and Divines, (whofe Opinions 1 approve of) and
thus much may be fpoken for the Opinions 0/ other zS\T en*

Of die Vertue and Efficacy of Motion.

IT is generally confelfed of all Men, that all fuch
< 'SMctiom in FiBures, as do moft needy refemblo
the Life , are exceeding pleafant, and contrary-
wife thofe that which do farthefl dilfent fronts the
fame, are void of all gracious Feauty , committing the
like difeordin Ofature, which untuned firings do in
an infrument. Neither do thefe motions thus lively imi-
tating SSfature in FiBures^ breed only $n E ,ye-plea(ing con -

tentmentp

Of Actions and Geftures. ' 45

tentment , but do alio performe the felf famo effeUs >
which the natural do, for as he which laughetb, motmietb ,
orisotherwi k effected, doth naturally move the behol-
ders to the felf fame pa/si on, of mirth or forrow, lo a picture
artificially expreffing the truo natural motions , will
( furely ) procure laughter when it laughetb , penfiyencfs
when iti s grieved &c. And that which is more, will
caufe the beholder to wonder, whenit wondemb todefire
a beautiful young woman to his Wife, wheru he feeth her
painted naked , to have a Fellow feeling wheru it is afftiUed *
to have an appetite, wheru he feeth it eating of dainties ,
to fall a fleep at the fight of a fweet fieeping "Picture, to be
moyed and wax furious wheru he beholdeth a battel mod
lively reprefented, and to be ftirred with difdain and
wrath at tho fight of fameful and difhonefl actions ,
All which points aro ( in truth ) worthy of no Ids
admiratioru then thofe miracles of the antient Mufi-
tians , who with the variety of their melodious harmony *
were wont-' to ftir Meru> up to Wrath and indignation , loye >
warr , honourable attempts , and all other affections as they
lifted,* or thofe ftrange conclufions of the *5Mathe>
matical motions , recorded of thofe undoubted wifo
Men, who made flatues to move of their own accord >
as thofe of Dedalus, which ( as Homer writeth) came
to the battel themfelves, or F ulcanus Tripodes mentioned
by zAriftotle > or thofe guilded Semtors which walking
up and dowru at the feaft of farbas the Cjymnofipbifl ,
ferved atuth cTable, or thofe antient^ ones of Mercury
in JEgypt, which fpake, &c.

In which kind of artificial motions , Leonard Vincent
was very skilfull , ( who as his Scholar Signior Fran -
cefco *5\Lelis(i the great Limner verifies ) invented
a certairu conceited matter, whereof he uled to make
? Birds thatr* would fly into the <zAir , and made^
u mod artificial Lyon , which being brought^ into

M a

a 6 Of Actions and Geftures.

a large Hall before Francis the Firfl lying oi' Frame of that
name, after he had a_> while walked up and down_>
flood flill opening his Treafl, which was all full of
Lillies and other flowers of clivers forts, at which fight tho
fiing and other fpeSators were rapt with fo great admira-
dcwthat they then ealily believed, that <t/I r chit as Taren -
tinus his woodden Dowe flew, that. the brazcn_,©mm/«3
mentioned by (flafiiodorus, didfounda Trumpet, thata_>
Serpent of the fame metal, was heard to hifs , that cer-
tain^ Birds Jung , and that <iAlbertus AAd agnus his bragen
Head fpaketo St. Thomas of Aquine , which he brake, be-
caufe he thoughts it the Devil, whereas indeed itr"
was a meer (^Mathematical invention ( as is moft mani-
feft._) 1 1 -i

T>ut to returnthither where Ileft, 1 amof Opinion thatinfo-
much asthefe Motions^ fo Potent /» affecting our Minds ,
when they be moft artificially counterfeited. We ought for
our bettering in the knowledge thereof , to propofe unto us the
example of Leonard Vincent above all others : Of whom-,
it is reported, that he Would never exprefs any motions in a
Picture, before he had firfl carefully beheld the Life, to the
end he might come_> as neer the fame, as was pofiible : whereunto
afterwards joyning Art, his Pictures furpaft'edthe Life.

T his Leonard ( as fome of his Friends, who lived in_»
his time/ have./ given_> ouC ) being defireous to
make_j a Teece wherein he would exprefs certain-.
Clowns laughing (although he never perfeQed it_, more,
then in the Firfl draught ) he made choice of fomo
Oownes for his purpofe , into whofe acquaintance after he
had infmuated h i m i e 1 f, he incited them to a feafl, amongft
other of his Friends, and in the dinner^ whileheentred
into a pleajant vain , uttering fuch Variety of merry
conceits, that they fellinto an exceeding laughterj though
they know not the reafon thereof, Leonard diligently
obferved all their Cjejlures, together with thole ridicu-
lous

Of Actions and Geftures. 47

lous Jpeeches which wrought this impreflion in their,
eSSfinds, and after they were departed, withdrew
himfelf into his (. bamber . And there poriraited them_>
fo lively, that they moved no leis mirth in the beholders ,
then his jefls did in them at the banquet.

T hey add moreover that he took fpecial delight, to
behold the (ycjl ures of the condemned, as they were
led to Execution, to the end, that he might" mark the
contradingof their brows, the motions of their Eyes ,
and their whole Body. In imitation-* whereof, I hold
itexpedientiotZiTainter, to delight in feeing thole winch
fizht&xB cuffs, toobfervethe Byes of privy murtherers, the
courape of wrafllers , the aBions of Stage-players , and the^
inticing allurements of curtejans , to the end he be not" to
feek many particulars , wherein^ the very Life and Soul
of painting cmifijleth , wherefore^ l could wifb all EAdcn care-
fully to keep their Brains waking, which whofoever fhall omit
his invention^ (out of doubt) mil fleep , fludying perhaps Ten
Years about the adiono/ ^Figure, which in the endwill prove
nothingvoorth , whenceall famous inventors, for the avoiding
offucb grofs defeds , have the rather (hewed themfelves fub-
tilo Searchers out of the effeds of nature, being moved
thereunto by a fpecial delight^ of often feeing, and continually
przQiizingthatwhicbthey have_j> preconceived , Jotbat who
fo kgepeth this Order, fhall unawares attain to fucb an habit of
pradice, in lively exprefing all Adions and Geftures,
heft y?£f/ftgfcpurpofe, thatitwill become an other nature.

And whofoever shall diligently confider fafar Sc-
jlius his admirable worlds, wherein^ all the aBions are mold
naturally appropriated toth cSubjeB, will eafily concludo
that he trod in Leonards fteps , and for this caule was he
highly efleemed of ‘Raphael Vrbine , unto whoirw they fay
he was wonv* jejlingly to (Sy often, that it" feemed zu
very ftrange thing unto him, that they two being fuch
neer Friends , in the Art of Tainting , yet fpared nor

M 2 each

48 Of Aitions and Geftures.

each other when they offended , a fpeecb furely well
befeeming honejl men , albeit they lived together in
l'uch fweet emulation > which humour if it were- to bo
found in thefe our Dayes, the World might be repu-
ted right happy, but now malicious envy ( to our great dif-
advantage ) taketh place inftead thereof, c5Mini firing
Matter to ignorant and abfurd people, infolently to dtfgrace
and carp at other Mens rare perfections.

Of the Sffeccjsity of eSMotion.

THeorderof the p/tfcereqaireth, thatlshould con-
fequently fpeak of Motion it felf, namely with
what Art the Tainterowght to give Motions bell fitting
his T Bures , which is nothing elfe but a correfpon-
dency to tho nature of the proportion of the forme and
matter thereof, and herein confifteth the whole [pint ,
and life of the Art, which the Tainters call fometimes
the fury, fometimes the grace, and fometimes the ex-
cellency of the An , for hereby they exprefsan evident
diflinUion between the living and the dead, the fierce and
the gentle, the ignorant and the learned, the fad and tho
merry , and ( in a Word) difcoverall thefeveral pafiions,
an d(fe fares which Mans Body is able to perform, which
here we term by the name of Motions, for the moro
Jtgnificant exprefling of the Mind by an outward and bo-
dily dc /non first ion, fothatby thismeans;«)iw</ motions and
affections may be as well, (or rather better )/ignifiedas by
their fpeecb, which is wrought bythe proper operationso£
the Body , performing jull as much as is delivered
unto itfrom_> the reafonable_j> Soul, ftirred up either
unto good ot bad, according to their private apprehenfions.

Which things, while all 'good Tainters propofe to
themfelves, in their Works , they exprefs fuch admi-
rable feercts of Sffature , as we fee, which being moved

by

Of Actions and Geftures.

by that /lining vertue , which continually lying kid in
the hart, is outwardly shewed forth in the Body, By
extending her branches through the exteriour zSAd embers;
infuchfort, that-' they may alfo receive motion, hence
fpring thofe admirably motions in TiBures ? which ap-
pear as diverfe as the pafions whence they have thein
origmaf-are different, of which point fomewhat shall be
faid in this enfumgTrcatifc.

Now the perfeB knowledge of this motion , is ("as hath
been shewed) accounted the moft difficult part of the
art, and reputed as ^divine gift. Infomuch, as here-
in alone confifteth the companion between Tainting
and Toetry, foras it is required in a Toet, that betides
the excellency of his wit , he should moreover be fur-
nished with a certain propen/ton and inclination of will, />/-
citim and moYmg him to % erfefy , ( which the antientr cal-
led the fury of ^Apollo and the z5\4ufes ) fo likewife a
Tainter ought?, together with thofe natural parts which
are required at his hands, to be furnished withal
tural dexterity and inborn flight of exprefmg the principal motions
even from-/ his cradle; other wile it is a very hard (if
not impoffibl c) matter, to obtain to the abfolute per*
feBion of this Art.

Th c truth whereof, experience it felf may teach us:
Infomuch as there both have been, and are many ex-
cellent Tainters y who for the in, extraordinary skill in
the art, are moft highly efteemedof all Men, as being
able to make fweet coloured piBures , having their loyns
and joynts in all points anfwerable to the rules of propor-
tion, underftandmg e. Anatomy and painfully lightned
and fjadowed , but becaufe notwithftanding all
their care and induflry in this behalf, they could neven
be fo happy, as to attain unto this faculty. Theyhavo
left their works to the view, and hard cenfure of po ferity ;
only becaufe they expreffed unsuitable and lame f/e [lures ,

. N ifi

p Of A&ions and Geftures.

in their TiBurcs, which they had flolen our' of other
Mens inventions : namely, out of theirs who wero
naturally indued with tha grace, and perfwading them-
felves that thefe would very well ferve their turns:
they imagined [uch ABions and (/eftures in their own Tic -
turn, as being ufedbefides the purpofe, for which they
were Firft indented, could notT be approved for good, be-
caufe they offended irr divers circumftances , whereforo
thofe unfortunate painful Mien (who notwithftanding in_;
fome others parts of the art, be fufficiently skilful ) al-
though they can-j imitate the oABions and (fejlures of o-
ther mentors, yet shall they never be able to make
commendable Hiflory , becaufe they be naturally disfur*
nifhed of that inborn facility and inclination.

Now on_j the contrary part, I deny not, but thofe
who are furnished with natural invention y may want.*
that patience in_-> their mr\, which the others have;,
which propriety arifeth from-> the multitude of their,
continual inventions , and ftirring apprehenjions : Info-
much, that before they carr_> throughly ftnifh or comp/eat
any oncTodyor a/IBion, infinite others arifein-j their
fantafie , fo that by reafon ofthegreatr they feel
in their invention, they cannot have the patience to finish
any thing they take in hand.

But the moll abfolute and compleat Tainters ( who are
nor' fo much inclined by nature , as perfe&ed by art)
endeavour, to choofe out the belt ABions for every
purpofe , in retraining the luxurious fury of nature, by that
deliberate diferetion which they have irr their Idea, by
the benefit whereof, they finijh their TiBures with de-
light and contentment , alwayes exprefling in each member ,
ascertain hidden refemblance of the princial motions, where-
fore thefe alone carry away the commendation of the;
prof off on which is notr’ granted to thofe furious mad-caps ,
by reafonr of their impatiency, nor yet unto the former

over

Of Actions and Ceftures.

over diligent plodders , becaufe they have not the natural
kpiowledge^ of thefe motions , and therefore cannor* ex-
prefs theno in their works, as thofe natural inventors will
do, with "Three or Four fir obes , whereforo they be-
come inferiour: fo thao as well the one as the other ;
muft needs give placo to the inventor , who wifely
joyneth the indufiry of art, with the gift of nature.

Notwithftanding, I am of Opinion, that-" it is po-
flibloto attain unto this fo excellent a faculty , (though
perhaps not"' with that fpecial eminencyo f natural facility, )
as by indufirious fludy iro the knowledge of thefe motions ;
andtheo^x whence they proceed. For from hence aj
Man may eafily attains to a certain underjlanding , which
afterwards putting in pra&ice with patience, together^
with the other points, he may undoubtedly prove a ju-
dicious inventor , who never had any extraordinary na-
tural inclination , my meaning is, thao fuch an inventor 5
as guideth himfelf by understanding , shall attains
to better perfeBion then the other, who is naturally in-
dued with the dexterity , w i thout induftry and patience : for
example, if a Man shall diligently perufe the whole
Htftory of (fhrijl , our" of doubt he shall gather tho
true Idea and <fA4ethod, how he oughts to reprefent the
motions of C-bri/t, the oApo/lles, the fern, and all tho
reft , who had any partitLj that cruel Tragedy , fo fuffief
ently , that the TTvLind of the beholder shall be no lefs
moved to pitty, tears and forrow, at r’ the fight of the piBure y
then Men_j are ufually at the reading of the Hiflory ■
fo that by this means he shall shew iro jFudas- violent ,
off en five , hrutifb , bui/ie, and diflempered motions , and iro
(fbrijibcmg full of patience, remifs , and gentle, reprefent-
ing in_j him, as in a glafs that finjgular humility and patience ;
wherewith he reconciled us unto his Father : All which.

notwithftanding they may be fufficiently drawo
out of tho reading of the Hiflory , yet for more eafe

N i fake'

52 Of Adfions and Geftures.

fake, they may be taken from tho accidental examples in
the living , imitated with great felicity, and afterwards
induflrioufly and artificially expreffed, by caufing tho
abundance of his diligence to appear, in ftirring up afeBions
of piety and Jorrow ( as in a pcec^j> of tho pafion ) or
other., affeBwns, as the Hiflory he hath in hand5 shall re-
quire.

Jfow concerning the way and manner how thefe Actions
are to be given, according to the diverfity of Paffions and Af-
fections, whichat [undry times, upon federal occafions may
move Mens Minds ; 1 hope_j in this Freatifetofhew evident^
examples, although they be fomewhat hard and drawn fronts
the fecrets of natural Philosophy, a thing which might feem~,
to require a^ Man r/riper. Years, then Jo young a Man
as my [elf, wherefore I muft crave pardon for breaking the
bounds o/'Modelly, in undertaking the handling thereof, had I
not been prompted unto it by the Painters , (it being of
fo great ufe and importance ) howbeit , If neither in that which
hath been already Jpo\cn , I have fufficiently laied open this
poinr', nor hereafter [hall be able to deliver^ Method
fully , which / prom fed y yet riotwith /landing this my pains is
not to be contemned , infomuch as it will, fat the leaf ) pre-
pare^weafie, free and Methodical paflage for every Man
to exercife his Wit, which mujl needs prove a^mofl fure and
ready way ; infomuch as all the mofl Famous Painters have
been directed thereby , who when they went about to counterfeit
any ftory. Fir ft conceived the general forme thereof , and
then gave to each Figure his peculiar Adtions, proporti-
oning, difpofing, and guiding them by diferetion, ac -
companicdwith natural felicity.

Now amongft the worthy Fainter s wTho excelled
herein, Raphael Vrbine , was not the lead, who per-
formed his Works, w lth a Divine If nd of oSAFajefy, nei-
ther was Fo/idore much behindhim in his Ifnd , whofe
Futures teemed as it were pafing furious , nor yet Andreas

qSM onta*

Of Actions and Geftures. yj

t5Adontagnea~> whofe vain shewed a very laborious
curiofity ; Nor yet Leonard del Vincent , in whole there
was never any errour found in this point : Whereof a-
mon^ft all other of hisTw^r, that admirable laft flip-
per of Cbrijl in IfcfeB. St. tTAdarite de gratis in dAdilane^
maketh mod evident-' proof , in which he hath fd
lively exprejjed the pafiions of the <l Apcflles minds in theirs
countenances , and the reft of their Body , that Mail
may boldly fay, the truth was nothing fuperiour to his
reprefentation , and need not bo afraid to reckon ita~
mongft the beft works of Oyl-painting , ( of which kind of
painting John Van Sycfi of Maefyck^born in the Year 1366.
was the firft Inventor ) for in thofe (tdpoflles , you might
thjlinBly perceivo admiration, fear, grief fufpition, iW&c
all which wero fometimes to be feero together in
one of them, and Finally in ffndas a TreaJ on-plotting coun-
tenance y as it wero the very true counterfeit of a Traitor , fo
that therein hohathlefta Jufficient argument of his rare
perfeBion , in tho true under (landing of the pafions of the
Mind } exemplified outwardly in the Body, which becaufe
it is the moftneceflary part of painting , Ipropofe (as I
fay ) to handle in this prcicntTreatife.

I may not omit ^Michael dAngelo in any cafe, whofe
skill and painfulnefs iio this point was fo great, that his
FiBures carry with thenomore hard motions j exprefled
after an unufual manner > but all of them tending to a j
certain (lout boldnejs . And as for Titian ho hath Worthily
purchafed the name of a greater Fainter in this matter, as
his FiBures do fufficicntly witnefs ; iio each w7hereof>
there (hineth a certain moving yertue , feeming to incite
due beholder, unto the imitation thereof, of whom this
faying may be well verified \ that_; he was beloved of
the W odd , and envied of nature.

F inally , (faudentim (though he be not much known)
was inferiour unto few9 in giving the apt motions td the

O Sairiti

f4 Of Actions and Geftures.

Saints & <Jlngels, who was not-; only a very Witty painter,
as I have elfewhere shewed, but alfo a mod profound
Fbilofopher and ^Mathematician , amongft all whofe all
praife worthy worlds, ( which are almoft infinite, efpecially
in this point of motion ) there divers FMyjleries of Chrijls
pa (lions, of his doings, but chiefly a. crucifix, called Mount
(fnlvary atr" the Sepulchre of V irajlo, where he hath made
admirable Hor[es and Jlrange Angels , nor" only in painting
but alfa in_j plaijlicf of a kfnd of earth , wrought^ mod
curioufly with his own hand, di tutto relievo , through all
the Figures .

Belides in the V auh of the CJbafpel of St. Mary de gratia
in Milane , he hath wrought m o ft natural aAngels , I mean
efpecially for their aUions , there is alfo that "mighty
Cube of St. Mary de Sorono full of thrones of Angels , fet out
with habits and aHions of all forts, carrying diverfity of
mo ft jlrange Inflruments in their hands , I may not con-
ceal that goodly C^appel , which he mado in his latter
time, in the Church of peace in CMilane , whero you
shall find ffnall Hijlories of our Lady and jFoachim, shew-
ing fuch fuperexcellent motions, that they feem_-> much to
revive and animate the (jpeBators.

Moreover the J lory of St. F^occho, done by him in_>
Vercelli , with divers other works in that-* Qty 5 although
indeed all Lombardy be adorned with his moft rare worlds,
whofe common faying concerning this An of motions ,

I will not conceal; which was, that all painters delight
to fteal other Mens indentions, but that ho himfelfwas
in no great danger of being detected hereafter. Now
this great painter, although in reafon, he might for his
diferction, Wifdome , and worth be compared with the a-
bove named in the Firft Treatife : Yet notwithstand-
ing is he omitted by Cjeorge Fafary , in his lives of the
Famous T aimers , Carvers , and Architects , an argument"'

( to fay no worfe of him that he intended to eternise only

his

Of Actions and Geftures. jy

his own Tufcanes, but I proceed to the unfolding of the
original caufes of thefe motions : And bird for our better
under ft anding , I will begin with thofe pafions of thd
mind, whereby the "Body is moved, to the performance of
his particular effeFts.

Of the pafions of the Mind, their original and difference.

THe pafions of the mind, are nothing elfe but cer-
tain motions, proceeding from—* the apprehenfion of
iome thing, now this apprehenfion is Threefold , fenfitive >
rational, and intellectual , and from thefe Three, thero
arif cThree pafions in the mind, for fometimes we follow
fenfitive apprehenfions , and then_> we confider good and
evil, under the shew of that which is profitable or unpro-
fitable, pleafant or offenfive > andthefe are called natural af-
feil ions, fometimes we purfue rational apprehenfions , con-
fidering good and evil in manner of Virtue or Vice, pra/fi
or diffiraife, honejly or difhonefty ; and thefe are reafonabl^j
affeffions, fometimes we imbrace apprehenfions intellectual ,
regarding goodand evil, as true and falfe, and thefe arej
imelleftual apprehenfions .

Now the infer/ our powers of the mind are of two forts,
either defire or anger, and both of thefe reffect that which
lcemeth good or bad, diverfy , for the defiring part either
confldereth good and bad abfolutely ; and fo if caufeth
love and hhmg, and contrary wife hatred, or elfe it reflects
good as abfent, w hence arifeth defire or longings or elfo
evil a.s abfent, buf at hand) and fo it breedeth fear, dread $
&c. or both of them as prefent, and fo from the Firft
cometh joy and delight , from the^ latter heavinefs and
grief the angry faculty confldereth good and evil, as it is
eafy o r_, hard to be attained unto , or avoided • whenco
fpringeth fometimes confidence and hope, fometimes^-
dacity, fometimes diftrufi, and fo defer at ion, & c. fome-

O t ttoes

0 Of Adions and Geftures.

times if is moved to revenge , and that is ifi_> regard
of evil pail, as injury or offence received , and fo it breed-
et hanrer, by that which hath hitherto been-, fpoken
iLj is evident , that there are Eleven-, pafsions or affec-
tions in _> the mind , which are thefe, love, hatred, de fire, fear,
joy, for row, hope, diff air, audacity, timeroufnejs and anger, from
which there do consequently fomany forts of ac-
tions in_> the art, as there may be affections exprefled in_.
Mens "Bodies, wherefore we oughf carefully to ob-
ferve the motions which are outwardly exprefled, in-, fuch
fort, as they do manife/ily point to the roots, whence they
jlrino, and difeover the caufes from which they proceed,
diflributing them and difpofing them accordingly in-, the
! ‘Bodies , or Thyfiognomies which wholoever shall fail in,
shall (quc/lionlefs ) wholly pervert the Order of things, con-
founding the ‘Beauty of Hijlories, whether they be Fables,
or other Inventions, which are to be painted-

How the Body orF hyfiognomy is altered by the ‘Pafsions of themind.

TT is a clear cafe, that themind according to the divers
affeHions ( whereof I fpake before ) by reafon_. of the
apprehenfiens both fenfible and imaginative ) doth diverfly
change and alter the Body with fenfible alterations, by vary-
ing the accidents thereof, and producing Sundry qualities
in_. the members, fo that in mirth, the Jfirits are enlarged,
in—, fear they are contracted, in bafhfulnejs they fly up to
tho Brain, again, in joy the heart is extended by degrees,
vn-> diffleajure'xt is drawn in by little and little, aslikewife
in_> anger and fear, but fudden anger and defire of revenge
procureth heat, blueing, bitter tall , and tho flux of the
Belly , /rar brings coldnefs, the panting of the heart , tho
failing of the voice, and palenefs, heavinefl caufeth /treat-
ing, and a- blewifls palenefs , mercifulne/s breeds a certain
heavinefs, which oftentimes hurteth him t hat is moved

Of Actions and Geftures. 57

to mercy, which appeares ordinarily in lovers, in whom
there is fucha Sympathy, that whatfoever one indureth $
the others likewife fujfereth the fame 5 Anxiety cauferh
dryness and blac\nefs • defire and love , breeds {undry colours,
fometimes red, fometimes pale, as we daily lee in lovers,
efpecially in their, meetings.

Nowall thele pafions when they be exceeding vehe-
ment do fometimes bring Death , which happened to
Sophocles and Dionyfm the Sicilian Tyrant , when ho re-
ceived the News of a de/perate viUory • the like hath
befallen divers ethers through heavinefs and fundry othen
mishaps have proceeded from-/ the like pafions > when
they aflaulted zFAFcns minds , whereof we have divers
examples in /lories, which I mean notr to /land upon as
being cu thing more curious then necejjary to our purpofc-
only I will jhew , of what power and efficacy , fierce
math joyned with a_> magnanimous audacity can do, by the
example of ^Alexander the Great, who being over-
matched by his Enemies in India, was feento realty forth
from his ‘Body, fire and light, the like whereof we read
of the Father of Fheodoricus , who by the like vehement
effeff, breathed ouL->of his heart, as from a burning fur-
naccy fiery /parlies , which flying forth jhon and made a
found in the zA ir. Fhus therefore we reprefentr all thefe paf-
lions /V/^ftory, together with their convenient and proper
Motions, we fet forth that great variety which worficih fuck de-
light" Wpleafure, that it zllurcth out Minds unto its with
a^fwcet kind of compullion, nootherwife then mofl delectably
Mufick enchaunteth the Earesc/ the Hearers^ which (as they
write') is fo forcible that way, that a certain Mufitian boafled,
that by the power of his notes, he caufed iSAA en to grow furi-
ous, and afterwards come to themfelves again.-

Of

P

58

Of A&ions and Geftures.

Of the (^Motions procured by the Seven planets.

A Mongft the Seven ffovernours of the IV orld ( which
tSM ere: Erifmcgiflus calleth V lanets , as Saturn , fupiter.
Mars, Sol, Venus, Mercury and Z,^) the chief and principal
is Saturn , which hath alfo received divers names of
antiquity, as Heaven, Sith-bearer , the father of the gods,
Tatrone^j of time, and from his effetts here below; wife,
intelligent , ingenious, the feed of great profundity, the Auctor
of fecret contemplation, the imprinter of weighty thoughts in
Men, a deflroycr and preferver, the SuhjeUor of power and
might, the keeper of hidden things, and the aAuUor of finding
and loofmg.

His influences are partly good, andpartly bad, accord-
ing to the diftofition of him thatr' receiveth them, as
weeping? melaticholly &c. he caufeth religious actions, as
to bow the knee, look down upon the earth, pray, and
fuch like motions of the Breafl and Face , common^ to
thofe which pray, or other auftere and fatyrical Fellows,
with Head declining, Eyes fixed on the earth, wafting
himfelf with a furious flence, and examining his own
fpeech, with hanging///?*. Moreover, hecaufeth a com-
plexion of colour between blacfl and yellow , meager, dijlorted,
of anj hard sift, eminent-’ veyns , aru hairy "Body,
f mailer*, Eye-brows joyned together, a thin beard, thiefi
lips , with looks caft down , an heavy gate, enter fairing as
hegoeth, bciides hemakcsaMan fubtil, winy, a way -lay-
er, and murtherer: Now according to this forme of Body,
and thefe motions, you may framo any Body fubjed:
unto Saturn, that is of the temper and complexion anfwer^
able to the nature of Saturn, fo thaf by that which hath
been faid concerning this Blanet in particular, as
alfo by thatr' which shall be fpoken feverally of tho

reft*

Of A6tions and Geftures. jp

reft, we may gather one general %ule , as touching
the <Jtrt of motions in our. TiBurcs, as well in rdpeft of
the quality of tho humour, as of the motions themfelves*
&c.

Jupiter.

The Second T/anet is Jupiter, fo named of the La*
tines , as you would fay Juvans Tater , the Father of
beneficence and liberality , he is otherwife called of tho-
Toets , magnanimous , the thunder er and lightner, invincible o,
altipotent, magnipotent , goor/ natufd , fortunate, facet, pleafant ,
the belt well-wilier, bone ft, neat, of & good gate, honourable ,
the author of mirth and judgement, wife, true, the revealcroi
truth, the chief exceeding all the ‘Planets in goodnefa
the be flower of riches and wifdome: the dijf oft ions and
ffio/zi' proceeding frono this Tlanet are, a merry znd in-
genious countenance, aBions of honour , /baking of hands, after.,
tho manner of thofe which entertain grangers , com -
mending and Jpeaknig Men with cap and knee, lifting

up the bead as thole ufe which pray.

Concerning the complexion , diffoftion and feature^ of
theBody, he makes a Man of ami xt [anguine, betwixt
white and red, of a delicate Body, good ftature, cither bald
or elfe high- foreheaded , Eyes fomewhat big, fhort nofrels
andunequal, thccbee^teethfomcwh&t big, a curled beard,
deceitful and fair conditioned: All vrhich correfpon-
dencies betwixt^ the qualities of the mind, and the cori*
Jlitution of the Body, together with their exteriouo
ajfeBions , if tho Tainter shall with judgement confi derand
obferve , they will breed both delight in him, and efti-
mation to his <iArt, teaching him_> farthermore the
true difference between an hone/ man and £ variety one
thaO is merry, and a melancholly Fellow, a Man of his
hands, and a coward, and fo forth, according to all thofe
qualities naturally proceeding from Jupiter, &c.

6o

Of A&ions and Ceftures.

zLLVLars.

The third {Planet is Mars, and by thes TWfisalfo
called ^Mayors, the god of wan, bloudy, armipotent, enfifer,
magnanimous , bold, inconcpucrable , full of generofty , of invin-
cible power y of impetuous pre fence , unrefijlable , a fubvener of
the firong and mighty , and a depofer of : he is the
Lord of heat , burning and power, th cTlanet of WW, brawls
and violence, incenfing, contentions and Wrf Jpirits , and ( in_,
a word ) broching all disordered, inconfedcrate and heady
actions: his fe [lures are terrible , oW, fierce , angry, proud ,
hafty and violent : he cauleth M en to be of a red complexion,
a deep yellow hair , round Yifiged > fiery Eyes , acm7and yferce
countenance , by reafon_j of his intemperate ; info-
much tha£_> he is reputed hot and dry, in the highelt de-
gree,bearing fw ay over m/ choller -

Sol.

The F ourth Tlanet is £0/, which hath divers others
appellations as Thoebus, «Apollo, Titan , Tean, Homs, Ojins ,
fiyfrcitcncnt, Fiery , Cj olden JJamiger 9 Radiant, Igni-comus , the
ZTye of the JVorld , Lucifer, Multi fidus , Omnipotent , tho
Trince of Starrs, th c grand Seignior , he is oh good S\ fiature ,
fortunate , hone [l, neat, prudent, intelligent, wife, the oovernour ,
the befloWer of life upon all Bodies indued with
obfeuring the /igfe of tho other with his ex-
ceeding brightnefs , and yet-’ imparting unto them all
that^ light they have > whence in refpeft of the
he is called Tyonifeus , and of tho day e Apollo , as you
would fay pollens malum, the dijpeller of evil, where for o
the iA thenians called him dteH-UcLxov , &c.

He was named Thcebusby reafori^ of his Beauty, and
/'Wwbecaufeof the violenrk^t he ins;endereth in
thofe Bodies, over which he hath dominion, and -Sol for
the preheminence of his light ; wherefores the Afiyrians
named him ^<tAdad, which fignifyeth alone, the Hebrews
Shcmefh • the ^Motions proceeding from him are coura-

gious,

»

Of Actions and Geftures. 6\

gious , honourable , majefeical , confederate and wife $ the colour
andhew which hegivethis broWnifh , betwixt yellow and
blacky mixed with m/, caufing thole which are fubje£l*
to him to bo of a low feature, yet of a comely perfonage,
bald, curled, with yellow Eyes, touching the affections
of their mind, they are confederate, prudent, trufey , vainglorious,
and magnanimous *

V enus.

T h e F 1 ft P lanet i s V enus , w h o fe denominations a r e 1 i k e -
wife divers , exprefled by variety of Spithites . as
chief, ’ mild , /^/r> bright , pleafant , powerful , fruitful , tho

c5 Mother of loye and beauty, the progeny of the Firft
other of tEMan, she that Firft joyned both Sexes

together in ^ /cw, the Queen of all yVy, friendly , merciful 5

ever, bountiful to Mankind, embracing all things
with her vertue, humbling the ferong and lofty, and ex-
alting the and and directing all things; they
call her Aphrodite , becaufe she is faid to be born of the
froth oh the Sea, and Vhofphorus, or Lucifer, wheiosheap-*
pcareth before the Sun in^ the Safe, and Hejperus when
she folio weth the Sww, her motions are pleafant and
/«/, being given-; to /ports, dalliance , dancing, and embrace-
in?s, she makes the countenance amiable , pleafant , and
/wen?, working a kind of yphitenefs iio the Body, by rea^
foroof her cold and moifl nature (refembling tho Water
which whenio is congealed and frozen, looketh white )
yetr' prettily mixed with red; she caufethMeroto be
proper of Body, fair androundvij aged, with blac\rowling Syes ,
brown hair, of a lovely difpofition, gentle , bountiful, courteous ,
affable and gracious .

EXT 'ercury.

Mercury is the fix t P lanet, and of the antient-' is cal-
led the Sonne of ffupiter, the Hcrauld and prolocutor of
the gods, the Cfrcecians call him which fignifyeth

finning, ferpentiger , caducifer, light- foot, eloquent, gainful, wife ,

Q_ rea»

6 2 Of Actions and Geftures.

rca/onable, Jlrong, potent as well oothe good as on the bad
part, the notary of the Sun, fupiters herauld , having com-
merce with the fupernal and infernal gods , with the

male , and /e; We with the female, molt fruitful, a n Her.
?n aphrodite: Lucian calleth him the Vmpire of the oWj\> o-
thers Hermes , or the interpreter , and the expounder of the
mi fieri es of his motions are inconjlant, fiippery , mutable ,

yZrwg, //Wy, prompt and ready, he caufeth a complexion
neither very white , nor very blacky along wfage, an
forehead , [mail Eyes, not altogether blacky an even h\gofe
and lomething , thin beard, long and /lender fingers :
the operations which he caufeth in tho minde are
witty , fubtile, bufy, (harp, Wary, an d fruitful.

Luna .

The Seventh and laft Vianet is Luna, of tho anti-
ents called P hcebe, Diana , Lucina 5 P roferpina , Hecate ,
Aden/Irena , Hr 'for mis , Jfocti Luca , wandring , filent , double
horned, fafe, night walking, cornigera u, 0^/2 of Heaven , the
firftof th ej> godde/Jes, Queen over mens w/Wx, Mifiris of
all the Elements , she to home the jlars have relation,
and the Elements are i jo fubjeftion, at whole beck
the lightnings Jhine, and feeds fpring, the Mother of com.
Sifter off hoebus, the tranfporter of light, from one pla-
net to another ; imparting her light , to all the other
flarrs , and retraining their divers courfes ; the Lady
of mine and moiflure, the beftower of riches , the lAQurfe
of mankinde 5 the ruler of all flates , pitiful, merciful, the
preferver of menj both by tea and Land, mittigating
tho tempefs at -Sea , the fubduer of carnal affections.
Queen of the world , and vanquisher of Hell, whofo
Majefty the birds of the a ire, the beafls of the fields , the
Jerpentes i/o the roefs , and caves of the earth , and the
fifhes of the fea doe reverence? finally th e^Enemie to
Thieves and M nrthcrers.

Her motions are moveable , beneficent, childi/h, fimple, ob-
livious,

Of AfHons and Ceftures.

liVious , and curious* she makes a man_^ of a pale comple-
xion, intermingled with red of a comely feature, roun
Vifaged and marked blackffh eyes , beetles browes , tender and
foftfleflo, the Qualities oi whole minds aro fatiability, fa-
cility, penfevenefe, affeflion of news , no ready gift in_-> dif-
courfing.

And Tronic hence fpringeththe whole variety of
all the othem motions befides the above named of the
Elements , all which ferve for tokens , and fignes where-
by we may the better attain to the knowledge of the na-
tures of people , and their^ affections and pafeions, anfwera-
ble to the venue and influence of the 'Planets , which the
antient iAatbematitians have by long experience obfer*
ved , neither did thofe excellent M otifecs <tAL Magnus,
aJIbbos Tritemim, and %ai : Lullius confider them_> to a~
ny other end and purpofe. Wholoeven, therefore *
shall be throughly poflefled with thefe things, im-
printing them well in his mind, and proceeding ac-
cording to their dirediion in his Pictures , may allure
himfelf thal_> his works will prove nor' only commendable ,
but even exceeding admirable , expreffing in_j them
fadnefs by Saturn , by fupiter contentment , by <S\/[ars cruelty i
by Sol magnanimity, by oSMercury quicknefs of ffirit, by Ve*
nus love and wantonnefs, and by Luna humanity and gentle-
nefsi exemplifying moreover according to thefe Ob-
fervations, thefe and fuch liko effects, united toge-
ther^ in the compounds *, all which the Antient Mafeers ,
carefully obferved, (as may appears by their worlds)
which fufficiently declare, thar they both under-
flood thefe myjleries, and took great^/;w iruj expreffing
them, whence ir is mod apparent, thar the knowledge
of thefe things, cannot-j be attained unto* by the
mere practice of Painting, bur by the earned feudy of phi -
lofophy, wherewith the Antienr Painters were fuffici-
ently furnished ; and henco it is, that Michael Angelo

QU2

64 Of Actions and Ceftures.

of late Years, being very skilful in_> thefe matters ,
gave to the Devils in_j his laft judgement in the V alkane ,
not*' only the aBions and gejlures of a Angels and nimbly
an doSive Men, together with other earthly ornaments ,
but alfo divers other look} and countenances , moft fuit-
able to their wicked intents, *as in his own difcretion
he thought*" fitted; whence we find ( fharon and the
other Devils, to have feveral countenances , though all
of them dreadful and malicious , in which point Leonard
Vincent was much renowned, and the other Five men-
tioned in the Second Chapter of this Treatife , who
were the very light and direBion of all the other good
T aimers, whom I therefore pafs over, becaufe they are
recorded in the lives of the Tainters, who were re-
puted little inferiour to Michael Angelo.

How all the motions may accidently befall any man though diver fly.

TlAving hitherto difeourfed of the motions arifing
**- from the Elements, the humours and the bo -

dies , as alfo how they differ each from other, accor-
ding to their feveral operations in men , and their vari-
ous effecls 5 it remaineth thatt I should now fpeak in
particular of certaine principal properties of thefo motions,
taking natural examples , ( as my manner is ) and applying
therrwto the Tlanets , from whence this variety of
cffeBs and influences defeends, which particularity of
motions'^ it shall beexpreffed, it will difcoverall forts
of pafions of the mind in each Dody or Thyfiognomy , but
becaufe each man is fubjeS to fome one of th cTlanets,
and therefore ismore efpecially inclined to fome one
afeBion, it will not be amifs .toshew how upon occafion
any ajfeBion whatfoever may beftirred up in a Man of
any condition, or conflitutiom the mamfcjlation whereofrifeth
wholly from the F i ve Senfes, as the inftruments whereby

the

Of Actions and Geftures. 6$

the obj eels be apprehended : as by the Eye vv e_j Th Fwl
fee that^ which is comely and undecent ; by the Sr^cs-
Ear we hear founds pleafant and unpleafant, as praife and
dijpraife 5 by the Jfojlrils we fmell fweet and (linking, ftrong
and fharp Javours , by the tafle we difccriL-* fweet, (harp ,
unfaVoury , thick^, fait , jliptif virulent* bitter, fat , flrong, un -
pleafant , and fas zArifotle laith ) /wrrf and [oft : Finally
by the feeling , we touch cold and hot, moijl and t/ry, as
alfo fharp, light, fippery , heavy , hard, [oft, grofs , / lender
and fuchlike qualities, from whence all actions, whereunto
any kind of 2Wy is fubjeB, arecaufed, though more
abundantly, and more apparently in fomc, then in
others, whence we are given to underftand, than*
as thefe qualities are diftin£t between themfelves,
and are feverally applyed to the Tlanets, fo likewife
th cafeBions proceeding from them do vary, accord-
ingly as the fenfes , apprehenfions and pafions , togethen.
with their objefls , viz. colours, founds , /wf/r, and
matters do differ.

Now although there be but^ one particular in/lincl
ineach private Man, which inclineth him to good or
whereunto that" Free (fovernour and ^Arbiter of
his afeBions mod naturally learneth, and from whence
all his ordinary rfS/ow proceed , notwithstanding
there is no impediment why Man may not be affected
diver fly , by any of the exteriour fenfes fthe ordinary
inflruments of all our operations ) by framing in his mind,
pafions anfwerablo to the objeU apprehended by his
fenfes , and fo caule fuch like A&ions to break forth
in him, as be repugnant to his particular inflinB, the;
truth whereof we read in David King of the Hebrews •
who was lafcivioufly affected , when fronts the top of
his T 'allace, he beheld Eathfheba , bathing her lelf naked •
and at the fame inflant was ftirred up unto cruelty in_,
commanding Vrias to be fain , although he were natu*

R rally

66 Of A&ions and Geftures.

rally both a moft continent and clemcntTrince. Again his
Sonne Solomon the Wife, wasfubdued by his fenfe, and
bewitched by tho inticings of Concubines and Idolaters ,
things much abhorrent-' from the Inltind of his nature:
And thus in perufing of Hijlories, we shall find how
divers mo foaliantTrinces, have upon occafions proved
fainthearted , and been ftained with covetoufnefs , many
pittyfulMen been given to cruelty , religious Men to
revenge and malice, chaft Men to luxury , flout" Men to
cowardice. See . obferving moreover the alteration of
mirth into for row, lamentation into laughter, coyetoufnejs into
liberality s which I therefore omit-', becaufe we daily
fee lively examples of people fucceffively affeded with
fundry vices , as rapines, grief loy^,dijhonejly , theft, murder ,
hatred, revenge, trechery, tyrany , mfolency, &c. and contrary-
wife with religion, mercy , loyalty , clemency , liberality, hone -
jly , victorious , defiro of honour, &cc. as Thieves being
ashamed to lay themfelves open-; before compa-
ny, for_> fear of being difeovered, will make af fair
/hew of true Men; and cur tefans and light Houf wives, iro
the prefenco of other grave zSXTatrons, will bare the
countenance^ of very hone/l women, concealing thein, ha~
bitual naughtynefs, for Fear of the df grace and punifhment ,
which would otherwifo enfue-, and fellones to avoid
the danger of the halter, will take upon them the habit of
hone [land civil Men.

Hence then the Tainter may learn how toexprefs
nof only the proper and natural motions , but alfo tho
accidental , wherein confifteth no fmall part of the dif-
ficulty of the <t Art, namely in reprefenting diverfities of
affections an&pafsions in one Body or Face : a_> thing much
pradized, by the antient Tainters (though with greatr*
difficulty ) who even, endeavoured to leave no part of
the Life unexpreffed. It is recorded that Euphranor
gave fuch o touch to the counterfeit o fTaris, that

therein

Of Actions and Geflures. 67

therein the beholder might at once colled, that he
was "Umpire of the T hree godde/Jes, the courier of Helena^
and th e flayer of ^Achilles , and of ‘ Tarajius the Ephefian ,
that"' he painted the Idol of the d/Itbenians in fuch fort,
that he feemed angry, unjujl, inconflani > implacable , gentle ,
merciful , &c. agaiio we read how Ttoi reprefented
in Oreftes, fury and grief mixed together; and of ano-
ther who refembled iio ‘Olyjjes a dilfembhng^/m? ; as
alfo of < tAriflides the Thebane , who(iro the Perfon of
a wounded IVoman giving her child [uckfex prefled pain,
and y&ir fo lively, that it is hard to fay whether sho
were more pained with the fenfe of her wound , then^-
fraid, lead her r/;/W lacking milf, should fuck blond ;
who alfo is reported to have beetle the Firft that be-
gan to reprefeno thefe perturbations of the aSAdbind, and
was afterward followed of the other Tainters, as a guide
herein, as it was once by chance found upon afmall
earthen to/ of in his Qhild-hood, made by Leonard

Vincent himfelf 5 wherein you might-" evidently per-
ceive, the fimplicity and innocency of a Qhild , accompa-
nyed with undemanding, mfdome , and Majejly : and al-
though if' were the countenance of hut a young and tender
Child , yer* itleemedtoshew forth a kind of [age anti*
quity , much to be admired.

Of divers other necejfary zSKdotions*

B Elides the Motions already declared at^ large, for*
the better underdanding of fuch other as might-"
hereafter ferve for our purpoje , it is to bo obferved,
that there aro certain others of no fmall importance ,
which aro to be referred unto thao which is mod
comely, and agreeable to Mans Body, as well i/o
refpedof fuch ejfetts as proceed frorro the fame? as
alfo iio regard of the times and feafonr, together with

R ^ ib&

(58 Of Actions and Ceflures.

thcconfideracion of th c objects, offering themfelvesto
our [enfe, for the better attaining whereof, we muff
in all tho aJBions and Cjeflures • make choice of the
chief ed and mod principal , Searching therro out mod

vide George Vaf.iri diligently , and deducing them from tho
data piiruia capih. circum/lance s , whichare found in the part

tobe reprefented, as Leonard Vincent did in the Carton o
of St. aAnne , which was afterwards tranfported into
France , and is now to be fee n in sIAdilane, with are-
I'm Lovinm a Fainter, in the border whereof, there are
many draughts , exprefling the great joy and mirth which
the Virgin (AMary conceived , when she beheld fo
goodly a_? Qhild as ( hriji born, confidering with hen,
felf that she was made worthy to be his Mother : and
likewifeiioSt. Anne , the joy and contentment which she
felt, feeing hen> daughter become the B lefjed Mother of
(fod.

Moreover ho that Piece which is to be feeniro
the Qoavpel of the conception in St. Francis (fhurch at <AMi~
lane , where you shall fee how St. fohn Baptifl kneel-
ing with his Hands together, bowed towards C^rtjl •
which was an aBion of obedience , and Child reverence ,
and in the Virgin , a gefure of chearful contemplation , wh i left
she beheld thefe aBions; and in the <l 4ngel, an aBion of
aJngelical Beauty , in confideration of the joy which
was to betide the world by this myjlery-, in as yetr'
a child divinity and tvifdome, where the Virgin Mary alfo
kneeled by holding St. John in her Bight Hand , and
ftretching forward her which wasforeshort-

ned,and finally th z Angel holding £/;r//2in his Left Hand,
who fitting by, looked upon SujFohn and Bleffedhim-,
again, divers other Famous Tainters and lights of the art,
have obferved other motions, as contemplation in calling
the Eyes up to Heaven, admiring tho Angelical (AMufeck^
and neglecting for a time all Inferiour Mufic\> with the

hands ,

Of Actions and Geftures. 6g

hands , inflruments , and other earthly melodies, which motions
were exprefled inthar' flngular piece of St. Cectb which
Raph. Tainted with Four other Saints , which workfls now
to be found i VLjSolognia at St. Johns in the mount, the
Agony alfo and forrow of the af flitted, which Anton: Cor -
regno exprefled moft artificially in his owrL_> City, in
Chrifl praying l n_, the Cjarden > a$ like wife 'want , pant-
ing, fweating, fleeping , threatning , and the motion of tho
flaming fire : all which are moft lively exprefled by them
in^diverspto/, and now to come to the Toets, that-*
which ^r/tf/fofpeaketh of his Orlando , may ferve fora
fit example herein.

His leggs and hands he [hakes, and breaths withall,

Whiles from his Face the liquid drops do fall .

And ins another place, of a Man grievoufly difeafetl, fa*
mifhed , and outr’of heart* in the Perfon of the famo
Orlando , when Angelica found hiin^ lying upon the
Jhore .

‘Rough, grifly • hair d, Eyes pairing, vifageWdn ,
patch , dW d// deform d in fight >

In fine he look} to makg a true description
In face like Death , in hew, life an ALgy ptia n .

And that of Dant defcribing a Shipwrack in a great
Tempefl at Sea, where the Men are faved.

And even as they , who panting at a wacl^,

Scap'd from the Sea, and gotten to the [hore,

Turn'd to the dangerous water, andlook^ back*

And thus muchfor examples, for he that-* would fet
dowri^ all the examples which would ferve for the shew-
ing, how in every effett we ought to choofe the moft
proper motions, without which the Ritture vvill be of
fmall worth, should grow infinite-, we muft alfo have*?

S re-

/o Of Actions and Geftures.

regard to the feafons, for the Summer caufeth open, and
ivearifomcj) allions , JubjeB unto [matings and rednefs ; the
fainter re drained, dram in, and trembling- the Spring merry ,
nimble, prompt, . and of a good colour, the Autumne doubtful ,
and moro inclining unto melancholly then otherwife,
notwithftanding if you be to paint a labouring Man ,
you mull without-' any regard of the [eafon{ though
more of Summer thenu> any of the reft ) reprefent him
with raifed limns and ftrong mufcles [welling and [landing forth,
/wealing and burning , efpecially in fuch as carry burdens,
d ra w gr e a t weights, o r u fe vehement leaping , walking , jcjling
with weapons, fencing and fuch like exercifes, Iz&ly 9/Ieep cau«
feth no motions of vigor or force to be reprefented.but as if
the body were without life ; W herefore we muft take
heed , vve doe not ( as fome ufe) give unto thole
which feep fuch kinds of actions in their lying, as in
probability will not fufferthem to feep9 as vve fee oft-
times in Men lying athwart fioncs, benches , &c. being re-
prefented with their limns [upported by their own force »
wherein it is evident, that fuch Tanners know not
how to obferve a Decorum .

Farthcrmore, there are motions proceeding from the
Eaf, as daily experience teach us, for Journefs and bitter-
nefscauk the bending of the Eyelids, and other parts,
fweet and favoury , a chearful countenance ; the like of good
[mils, whereas contrary wife bad [wells mako us draw
iru the SSfoflrils , look afide, turn_j the back^, with
wrinkled Eye Aids, - Eyes almoft clofed, and mouth drawn
in^ ; of hearing and touching , they alfo caufo .di-
ftin£l motions in our_. Bodies, as for example, from /harp
founds and noife, rifethfudden fear and affrighting, from_»
touching any hot thing, quicl^and/peedy motions, from touch-
ing cold things, refrained and fearful motions, as iru fuch
in tho winter touch Ice or Snow . And fol conclude of
feeing , for in looking upon things exceeding bright „

the

Of Actions and Geftures. f\

the fght is offended, anda Man withdraweth himfelf
for fafegard in beholding obfcure things ; the Eyes
are fanned, by drawing near, and as nr' were clogjn?
them as "Painters ufe to do, whero they would look
. near on a_> thing, which<^ft#iscaufed by aPiBureCexr'
afar off : zAnd here I -will conclude thofe fmple Motions
which arc of mod Importance, proceeding unto thofe which con -
ffof multiplicity.

Of the Motions of all forts of Cloth,

THe ci Motions of 0 oth, that_> as the Folds or Flails
ought-’ to runne out every way like boughs from
the StemnieandPody of the Tree: and mull be fo mado
that one Plait rife from another * as one bough, orono
Jlream-j of Water lffueih out_j from another, in fuch
wife, that there be no part of the Qoth wherein thero
appear not-’ fome of thefe motions • now thefe motions
would b e moderate, gentle and free, without-’ any interrup-
tions, more to be admired for their grace_> and facility,
then for affe&ed pains and indujlry , and becaulca all
forts of Qoth have their moiions, as well as Bodies, it-1
mull needs be that they differ between themfelves, ac-
cording to the differences of the clothes themfelves.

Wherefore, theymuft be more light in_> fine Cloth,
as Sarcenet, Linnen , Cyprefi, &c. in which the 'Plaits area
fmall, raifedup, trembling, and as it-1 were fweetly warring,
fomewhatr’ puffed up by extending and jbreading them*
felves like a Sail, where the motion receiveth moro
ftrengthby th etvind, they do fall clofe uporu-the bare
skin, as appeareth plainly inwomens garments, in whom you
shall fee their 1 hin clothes ftretched upon_> their bare
skin, on that-’ fide where the 'wind bhrseth, and &/&%>« up-
on the contrary part, the fame fallethoutr’in mantells,
the loole ends of girdles an dgarters, all which motions do

S a raoft

72 Of Adtions and Ceflures.-

mod: fitly belong unto the apparel of nimphs and others
goddcffes, inrefpe£t of their lightnef 5 grofs and dul jhadows
are found iji_^ftiff cfof/w, where the Ttox ar c few and
grofs , fo that they are capable but of flow motion , and
therefore they fink downwards * and can hardly fall
clofe to the We sl{[n, byreafonof their own grofjenef,
which fuftaineththem,andthefew^/o«/'do chiefly ap-
peare in cloth of gold , felt, thick^ leather &c: in which
the <±Air can have little force or none , wherefore the
plaits or folds have their motiom accordingly as they are
handled and prefled by the wearer- as under the arme, and
under the knee, by opening and firetching out the legg and
the armey ever making grofs, hard, and fliff folds, with-
out"' all fightings or plyablenefs , in fuch fort, that if a_>Man
may lay Finer cloth upon them, they willeafily hear it up
withou t prefiing down.

T emperate motions , which are neither toogrofs , non.
too fight , are fuch as appear in the folds of (luff and othem
* cloths of Fine woof which therefore may convenient-
ly be moved of the <*Air, and are ply able toa_>Mans
limns , and fo making molt fweet and pleafant folds , they
follow the hare very well, becoming very nimble, and
falling plyahly about tho loyns. And hence have ‘Ra-
phael, ichael dAngelo, Leonard, (faudentius, <tAlbertus
Durcrus , and other Famous sSATafersiw Drapery , taken
the method and way ofgiving the true motions unto garments,
as from— > the molt perfeB pattern for their general ufo
in making the mantells of the Saints , Tavi lions or Tents ,
which are made with this kind of Drapery, befides
thefe, there are alfo other kinds of motions called turn-
ings and era /lings , which are proper unto Damask^, Taj -
fataes, Sattins, Cloth of gold &c: in which appeare folds
crofing and breaking each other, by the divers Venue of
the Drapery .

Whence the Venetians have taken their manner of

Dra«

Of Adtions and Geftures' y)

Drapery > who make'theim folds much different from
the fa id motions of Raphael and the reft, which indeed
ought not to be ufcd anywhere fave in counterfeits
by the life , where it feems they aro not onely tole+
rable , but a!fo very rcquifitc; but in my judgement they
should not ordinarily be ufed in Hifories , and yetr'if
occafion_j do require that they should be reprefen-
ted in any place, they ought-" not to be done wholly,
but only fomewhat and relembled with a_^ pretty touch
andgrace 5 in fuch fort that they may not favour of an_-
affeded imitation of the natural garments, without graces
or^r order which is often ufed of many with fmall rea-
Ion ( as I think: ) there are alfo other motions as of velvet ,
limber leather, &c, all which differ one from another,
but I think thefe may fuffice, without^ proceeding
any farther in the difeourfe hereof; only let thc^
Tainterbz careful and indufriom, as well hereinasin thc^
reft : Infomuch as in the excellency and perfection thereof
dependeth , as well hereon, as on the reft; becaufe
thefe motions of garments comefo necr the life, that it is
evident, that they are able to make a ^picture feem dif
pleafingandilfavoured, procuring the f corn and laughter of
the beholders ^ fuch were fome of thofe which were
ufed by our Great (grandfathers Sonne Two hundred
Years fince, which leemed like round fields, or candles
hanging dowrm , which fome of our., late trorkpnen
of good Note have alfo ufed , making their folds
too long, hanging dowiu' like Canes , without-" any
kind of grace. Another., defect in the Drapery of old
(Pictures I find, which is; that-" they feem to be made
like unto Scales in fome fort : which I think, they
took from the imitation of the models of Men, cloathed
with paper , which point afterwards attained to high
perfection , by the great indufry of Dramant s and zAndrm

T Mon

74 Of Actions and Ceftures.

<sSMontegnia, and was afterwards reformed, and made
much more abfoluto by zAlbert Durer, and Lucas of
Leiden, and Aldigr avers, whofe Folds for the moft part
nere likegHAf confounded in one another.

Of the Motions of Trees and allotbcr things that arc moved.

%

T Aftly the eSMotions of every thing which is moved,
*~J oughtr* to be exprefled with judgement, according-
ly as they agree with the thing whereunto they are
given, fometimes quiche fometimes few, fometimes
moveable, lometimes not : And Firft of all in— Trees,
when they are fakcn with the wind, there fmaller ( and
therefore more ^\ys>h\e)boughs, mull berefembled w'ith
fuch an aBion, that they may more ftrike one againft
another, by yeilding and declining from-, the part whence
the jp/Wbloweth, then the flijfer (and therefore flower)
the Body notwithftanding remaining Jlrong and / ledfajl ,
the boughs growing from thence, begin a little to bend,
and the others which proceed from them a_, little
more, fo that in the end they shew the fame agility, in_»
the leaves moft of all; it is true that all Trees have not a_>
like motion : For the Willow movetb , and is flaken ex-
treamly, theTm-tree nofatall, or very little, and
fo forth of the rell according to their natures , but by
the way we muft Note, thztyoung and tender Trees of
Body, begin Firft to move from the bottom of the Body,
flaking their boughs and leaves together. Herbs like wifo
whether they bear flowers or fruits, have trembling
motions , according to the conditions of the wvinde which
bloypeth them* andalfo accordingly as they are forced or
oppre/Jed of any thing- as fon, example , an Ear of Corn
whena^Z?/W fitsfeedinguponit, whichwill noton-
iy make it bendy but even w-eigh it down to the Earth r
as well obferved thaLj (fountry Fellow? in Cfreect_j> of a

Fainter v

Of Actions and Geftures. 75

“Painter, whether itwerc <iAriflides oxPampbilus I dailor
well remember, who had painted a ‘Bird upon an Bar
of Corn, without making the fla/kjsenda jot : In like
fort the motions of other unfenlible things, as quive-
ring of Feathers, of wings and plumes, the wreathing of
ropes, the knots oftaw/j, flying of jlraws, duft, &c. mult
be exprefled according to the "violence done unto them,
to the end there may no occafion be given unto the
meaneft, to tax and carp at Painters fotherwife moft ex-
cellent; ) as not long fince fell out, in the work of a
good carver-, who in the wrong fide, where he had
carvedtSMdcbael^Angelo, made a blind ‘Beggar, led by a
T)og tyed witha firing about his (ecf, which feemed
to be fo jlretcbed, that it-’ wasas flijf a.sa.flaf, without
any bowing : which gave occafion-; to a waggijh Boy to
[cofat it/ faying, thatif tho Dog, had ftraitned the
firing fo harde, he had either been flrangled, or not able
to o-o any farther , which caufed certain-- Painters
which were there to break into an extreame laugh-
ter. ' .

Many fuch blame worthy motions may bo found

in PtBures, which would not fo eafily efcape tho
hands of Painters, if iio every thing they Paint, they
didconfider , thatit istheir owlodifigrace be it ne-
ver lolmall, as the mod diligent Leonard, and Cceflar Se-
fmsAid. ouO of whokhands there never came any un-
perfeft piece of mr{-, for iro the ('mailed herbs, you
shall find their moft trueProportion, and Pfatural ejAfo-

tion. . ,

ojibertus ‘Durems was no lefs careful in_> this behalf,
as may fufficiently appear by his prints and coloured pieces,
in which you shall find the legitimate motions, even un-
to the fmallcft hairs of the beard, as in than" of the Duke
of Saxony, which was alfo drawn again by Pitianus , and
afterwards in the hairs of St. Sebaflians dog. In the print

T %■ of

y6 Of Actions and Geftures.

of the horfes of fenje and death , and intho great leaves
of <i-// dam and Eve.

The motions of the Sea— mu ft be other wife exprefled
by reprefenting the divers agitations of the venters , as
likewife in rivers, the flashing of the waters upon Boats,
and Ships floating up and down on the waters, through
the uncertainty of the [urges and the Ships redftance.
We mult alfo reprefentr' the motions of waters falling
down from_/ an high place , but efpccially when they
fall upon iomc cRocp on. ft ones , where you shall fee
thcm_> /flirting up into the iTir , and fprinkling all
about.

Clouds alfo in th c<t/Iir require to have their., motions
judicioufly exprefled, now gathered together with
the Winds, now violently condenfated into Hail, Thunder-
bolts, Lightning, %ain, and inch like TMctcorr. Finally
you can make nothing, which requireth nor' his
proper motions, according unto which it ought to bo
reprefented, but having hitherto fufficiently ( as I
fuppofej) dilcourfed of thefe kind of motions , I will
here shut up all with the molt hot and vehement motions
of the flaming Fire, haftening towards aiu end as that
doth naturally, although it be diversly ftirred and
blown wdth the wind, whereby notwithftanding ga-
thering more force, it is augmented and increased.

The

THE

Art Os Miniture

O R

L I M N I N

IHope that no Ingenuous perfon, will be fo bold to
attempt-' this oArt, before he can deflgn, (that is to
fay ) further than Copying any Pitlure in_j black^and
white, as Cole, blacf^Cbal^ blacJ^Lead or the like. It is
neceflary to draw much after good Heads of plaifler of
"Paris , becaufethe difference is much morej> difficult
to draw after around thcn_^a flat , and after you have
pra&ifed much by the Heads of plaijler , you mult en-
deavour to draw much afterthe life, in blacky and white,
before you undertake the Art of Limning .

T he Colours to be ufed in Limning are termed thus*

famine,
Indian Lake,

mites I ^hitel%ed\ %ed Lead, '
Czerus S r j- . cd„j

Indian Bed,
"Burnt Ocur, &£c.

Kiaflicot ,
Yellow ocur,
Eng . Ocur,
Pinch, \

Sap Cjreen, 1 {"Ultra Marine ,j
PincfandBice, fDutch Bice , I

Cjreen Bice,

P err a Vert.

Smalt,
ndipo.

( jreens<

IQ all Stone, 1 r, .
\iMumme, 'fvory black,

BroWns< ( ullim Earth, >Blac\s< co j) ,
\Vmber, I

1 j (X berry dtone, j

j

V

ui

As

-8 The Arc of Limning.

As for Vermillion , Verdigriafe, Orpiment, See. they are
too courfe and gritty to ufe in 'Water colours ; ‘ Turnfoile , Litmus
blew, Vpllet, ‘Brffil, Logwood , Saffron , are more fit for.
Wafting prints then curious Limning.

Thei way and manner of preparing colours, ■

White Lead.

To make youvwhite lead that it^ shall neither rufl nor
), 'bine , both which are no fmall inconveniencies in_»
the <iArt of Limning , there foro before you grind ei-
ther of them, lay them in the Sun two or three day es,
which will exhale thofe greajy and [alt humours that poyfon
and Jlarve the colours, befides you muff ferape away tho
fuperfirics of the white lead, and only referve the middle of
it, then grind it with fairwater, or rnfemary Water, upona
'Pebble or Porphire, when it is ground havem readinefs a
cball^flonew ith furrows in it, into which/iimnw put the to-
lour while itr" is wet, and fo let it dry in the Sun, and it
will be exceedingly cleanfed thereby, after its is through
dry it muff bo wafhed in fpring water • as for example,

Let oneXnftance ferveforall
Colours to be wafbed and horn.

'T'AkeaPdundof white lead finely ground, put it into
bafon of 'firing water, ftirr it a while together, till
ihcwaterbc Aicoloured, then let it {land, and you will
foon_j perceive zgreafy [cum to arife, which [cum blow off
andpowreth c coloured water into a cleans bafon, leaving
the grofferBody at the bottomeof the bafon behind ,
it being good for nothing but groffen, ufes , let
the purer part (land One home or Two, untill it is
quite fetled, then powre off the water from the colour ,
and put it in frefh water, and ftirr it as before mentioned,

then

The Art of Limning, yjfi

then let it Fettle half the time that it did at firfl:, and
then powre off the 'water into a clean bafon , leaving
the cornjer part behind, and when if' is dry put it up
into papers for your ufe- then let the other tvater which
you powred off, fettle, and then powre off the mater
from it, and take-’ the colour when it is dry, and paper
it as before, for your ufe: colours thus refined five or fix
times over are the purejl , and mod fit for the beftw/e,
and w'hen you ufe it lpread a little of it about a l hell •
withyourywger, and temper ivwithgumwater.

Colours to be washed are thefe following.

%ed Lead or eSMene y <£\da(lkoty green "Sice, blew Bice,
Smalt , Ultamarine y Sapgreen.

Colours to be ground are thefe.

While Lead y Serns , Indian Lake , B ronm Oker y Yellow
Okpr, cPinck0 Indigo , Umber , Qullins earth, Qherry fl one, /-
yory, Lamp blacky Indian red*

Of theNatureof Colours in general

.... \

Englifh Ocur .

This lies even in thcyMof itfel£ and
is of great ufe, efpeciallyif well ground.

Binckmixed with Tiice, a good green.

(jreeti) The F aireft Tincl^ is belt, wtWground and torn-*
pered with blew "Bice, allowing one quantity of Tinch^ to
three of blew Bice 5 to deepen this colour in Land -
ship ol Drapery, mix with it_> a little Indigo finely ground.

Umber .

/ f * * ? /

B ratin') This colour is fomewhat-^rai/yj to cleanfe it;

Vi burn

i u

go The Art of Limning.

burn it in a Cruciplc, afterwards grind it and it will bo
good.

Indian ^Red*

DarkfRed) Becaufe this colour is very courfe, you may
ufc V tuber > and a littlo lakp tempered, which is as
good.

B lackj Ivory and (fherry-flone , are both to be burntr' in
a Cruciplc, and fo ground •, [herryflone is good for Drapery ,
for a blackJSatiin , temper with itr* a little white, Indian
Lake and I ndigo, heighten^ it with slighter mixture, deep ^
enif* with \voryblac\ this was Hilliard* way.

Ivory B lacl{.

BIack)Gx\nd Ivory with a pittance of white Sugar Candy »
which will preferve it from cracklingoutofyour Jhel.

Indian Lake.

'Purple) Grind this with a little gum water, and when
is ground' fine, before you put it into the fheli, mix
a little ponder of 'white Sugar Candy with it, which will
preferve it from_o crackling , after this temperaturo you.
may fpread it thinly with your finger about th z/hetL

Obfervations in (grinding.

Leave not your colour too moifi, buu/;/c^and clammy ,
if after your colour be dry iio your fhell, you rubbing
your fingers thereon shall find any to come off, ir”
muff be better bound with gum, and if too much gum,
it will time and be apt to crackle off after it is ufed.

To tvafh B ice.

B lev) Gri nd your Bice firft very purely, then filial

large

- ©

The Arc of Limning. 81

large fhellw ith clean-? water, put the B ice therein and
ftirr it, then let it fettle One ho wer, take off the [cum
and powre off the water, then referve the bottomo
when it is dry for ufe: To deepen this, ufe Litmus Water.

How to choofe your Tend Is,

Choofe fiich ^Pencils as are clear and /harp pointed ’ not di-
viding into parts ; of thefe you mull have in readinefs
a feveral Pencil, for every feveral colour.

cf o prepare a Tablet to work^on with Miniture for Ticlurcs by the life.

Take an ordinary playing polijh i tr* with a
Dogs Toothy and make as fmooth as you can tho white
fide of it, cleanfing it from— > all jpots and extuberances $
then choofe of the bed abortive parchment, aTiccepro*
portionable to your Cardy which piece with fine and
clean /larch pafl fail on the card, temper the / larch before^
you/^yHton, m-^the/W^of your hand, that it may
be free (vomKjiots b \ctth^j card thus pajled dry , then-*
making your grinding- (lone as clean-? as may be, lay the
card thereon-? with the parchment fide downwards ; then
with ^Toothburnifh or poli/h the backfidc^as hard as you
can, Note that the outfido of thesis beft to Limne
upon, and muft therefore be outmoft.

T be ([round colour for a Face .

YourcW thus prepared, you are to lay a aground of
primer of flefh colour before you begins your worthy and
that>? muft be tempered according to the complexion of
the Face to be drawn; if the complexion be fair , temper
white y red leady and la/e y if an-; hard fwarthy complexion *
mingle with your white zndred a little fine aflicot y or

X Englifh

82 The Art of Limning.

Englijk Ocur, but Note thaf your ground ought al-
wayes to be fairer then-, the Face you take; for it is a
facile_j matter to darken a light colour , but a difficult
to lighten a deep one ; for in Limning you muff never
heighten, but work them down to their juft colour.

Your ground thus prepared, you muff lay it on the
card , ("ordered as before) with a_- 'Pencil bigger then
ordinary, lay it on as Jmootb, even, and free from hairs
of your Fenc'd as ’tis poflible^>, which that you may
do ) fill your Fencil full of colour, rather thin or imatrijh,
then_> thicly and grofi, and with two or threo dmbes of
your greats Fencil, lay it on in an inftant, the nim-
bler it is laid on , the evener the colour will ly.

Note that you oughts to cover rather too much
then too little with this prime- cover fomew'hat more
of the card with the ground colour , then you shall ufo
for the Face.

This done, take a pretty large Fallet of Ivory, and
beforeyou begin-* to work, temper certain little heaps
of feveral fbadoyces for, the Face, which you muff tem-
per withyour finger about the Fallet.

» f *

The Order of Shadows for the Face .

Shndtvfs In all your Shadows , remembers to mix
foro ophite, ( exempli gratia ) for the red in the Cheeks , Lips ,
&c. temperZ,rf%, red Lead • and 2l? little Kvhite, for the
blew, as the Feins f &c, a little Indigo and white for blerx>
jBice is never ufed in a Face, for th cfaintejl and Wakefl colour
or [hades. Lake and white, a little; Ow, and a little Indigo ,
adding thereto if you will a fmall pittance of P/V/c^or
aTALa/licot, for the deeper (hadows, white Sng/i/h Ocur >
Vmber, for the darkefl and hardcjl fbadows , ufe Lakg^j and
JP inf^ mixt with Vmber : Note that blacky mu ft not by*
any means be ufedin^a Face, for other shadows your

own

%

The Art of Limning,

bwnobfervationumuft dire£t you, for it is impoffi-
ble to give a general for the shadows m all Faces,

unlefs we could force nature toobferve the fame method
in compofing and modelling them, fo thar' one in every pun .
Bilio should refemble the other.

For your Light to draw by a_; Northern is ac- Light
counted beft, which if it fall /looping down from an high
windoiv, is beft.

Place your felf to your ‘Desk , thar" the
light may ftrike in fidelong frorro the left-hand to the right,
andoblerve that:" in ail your works it will shewtotheJ
beft advantage, when it is turned and feeio by the fame
light it was drawn by.

Let a Saucer or clean Shell of fair Water be
ever on your right hand , wherewith youmay in Lim> tig.
temper your colours and wash your pencils, together with
a brush pencil dry, to cleanfe your mrk^ from duft . alfo
a sharp penknife , wherewith to take away fuch /fecks or
/?^Vrasmay cafually mix with your colours, or fall into
your card-, you may alfo conveniently cover your
piBure__j with a piece of paper, whereon to try your gen*
cils before vou bes;in to work.

cTo begin a Face.

Having thefe accommodations, draw the Thefirji
lines of porphile(i. e. the outmoft Jlroal \ ) of a Face dra» s. hf-
w ith la\e and ivhite§ mingled very faint, by thisyoumay
conveniently mend the draught ( if fa/fe ) with a deeper
mixture of the fa mo colour, the lines being exactly drawn*
and true proportion-* obferved ( which is the chiefeft
thing of concernment ) next-' obferve the deeper and
more remarkable fh adorns, and with the fame faint Crimfori

X £ colour *

84 The Art of Limning.

colour of lake and white 3 give fome j light touches and marks
fomewhat roughly of thefe jhadowes, which afterward
you’l finish.

' The Order to be ohfer'vcd in drawing by the life ,

The Order of p i x ft you muft only dead colour tho Face ,

drawing fi>/t J J « 111

firing, as the Oyl-painters do, and not" meddler
with the reft, and this firft fitting commonly takes
up two hours.

Second fating. The fecond fitting vvill require Four or

Five hours , in that" time you are to go over the Face
very curious jly , obferving what ever may conduce ei-
ther to likgnefs, or judicious colouring , alio obferving
of thefeveralgrac*/, beauties , or deformities , as they ap-
pear in nature y orelfe in fmoothnefs of shadowes, or
clofe and fweet couching the colours.

Third fitting . The third fitting commonly takes up two

or three ten, and is fpenr' in ■clofing what was before
lehimperfeB and rough-but principally in giving to every
deep fcadow, the firong touches and deepnings as well in the
darf Jhadowes in the Face , as in the Eyes, Eyebrows, Hair
and Ears, and thefe touches are ever the laft part of this
bufnefs, and are never to be done till all the#4/rand
©ra/tfrybefinisht, thefe touches (if well done) add ex-
ceedingly to the life.

C oncer n in <y dead colouring .

^ o o

The dead colouring of aF ace is to be done the roughed
and boldeft of all ; having drawn your F ace with lakg_j
and Stefas before) you muft take to the faid colour a.
littl eredlead, tempering itto the colour of the Cheeks, Lips,
&c. but very faintly , Secaufe you cannot lighten a deep
colour, without hazard of i poiling the picture.

The Art of Limning, 85

ThefirftroWto begins the Face with, is the n6t im t0
red of the Cheeks and Lips, fomewhat ftrongly L,m*-
the bottome of the Qain, if the party be beardlefs ; over
under and aboutr* the Eyes you will perceive a delicate
and faint rednefs, and underneath tho Eyes, inclining
‘ to purple colour , which in fair and beautiful Faces is ufuaf
and muft be obferved ; the tip of the Ear, and the roots
of theH^/Vare commonly of the fame colour.

All this you muft do after the manner., of hatching,
with faint and gentle flroa\r , washing it all along, ln_>
short, ihy our dead colouringy ou muft cover your ground
with the aforefaid red , and the fubfequent (hadows.

3\fote ) Be nor" too curious in your fir [l wording , bur'
regard a good bold following of nature, rather then-; fmooth
curiofity , the roughnefs of the colour, you may end ar an-
other fitting.

T he fecond ivork^ of Limning .

The m/being done, the next is the faint blews rtefecond
about the balls and corners of the Eyes , and the
gray and b/ewifh under the Eyes, the Temples, &c. which
you arealfo to workf tom the uppermoft part of the Face
almoft all over, bur exceeding/wm and faint, byde-
grees,fweetning and heightning your fh adorn, as the light falls:
And in going over the Face, be fureto mark our the
hard Shadows in_j the dark fde of the Face, under the Jfofe,
Chin, Eyebrows, &c. As the light falls , and fomewhat^
jlrong touches , inthofe places bring up your work toge-
ther in an equal roundnefs , nor giving perfection-/ to
toany particular parr of the Face, but vifi ting all the
parts curioufy, and in a kind of randome, by which means
you will better obferve the likenefs , roundnefs, poflures >
colouring , or whatever elfe isrequifite to the perfecti-
on^ of your work^

Y Having

86

7kc ih.rd Having done the fainter or lighter /hades, and
Procedure. fomewhatr" fmoothed and wrought theno
into tho red , you may go over the hair, difpofiflg
into fuch forms, folds or tramels , as may become youo
Till ure bed.

You mull at firft only draw them_> with colour as near
as you can, [uitable_j> to the life , and after wash them
lightly atr' the firft, and then once more perufe youn*
wo>\, being careful to fill up the void, empty and bar o
places , which aro uncovered with colour , and at laft
deepen it fomewhar’ more (Irongly then before in tho
decpcfl Jhady places, (till carefully obferving the life 5 thus
much for the firft fitting.

The Order of Limning in the fecond fitting.

The party being fet juJlin-> his former Seat , you
muftmoft exactly obferve and curioufly delineate with your
pencil , thofo feveral varieties of nature, which you
did rudely trace out before, to do this you muftufe tho
fame colour iruthe fame places you did before, working,
driving and fweetning thefamo colours one into another,
to the end thatr' nothing be left in your worb^w ith o
hard edge , uneven , or a_> lump together, but alfo fo Jwept
and driven one into another, with the point of fome-
what lujbarper pencil, then you ufed at the firft as thao
your Jhadows may lye [oft and fmooth, being dijfterfed and
gently extended into all, and towards the lighter parts of
th cFace, like air or a vapoury fmoakg, but before this you
muft carefully obferve all the/hadows an d colours.

rhe ground behind F or the (f round behind tho TiUure, it is

the Tidure. commonly blew or crimfon, fomewhat like

a Sattin o r red T ehet Curtain : if blew you muft lay it thus,
y ouo "Bice being pure and cleare wash, temper as much in
a shell as will cover a Cat'd, let it be all throughly moifl

and

The Art of Limning. 87

and Well bound withgww, then-) with a filial! pencil, go
about with the fame colour, the porphile, that is the utmofl
Jlrokg and ambient fupetfleies of the TiBurc ■ this done take
a greater pencil and therewih wash over Tome what careful-
ly the whole ground that you mean to cover with a blew,
fomewhat thin and watrish, and then withareafonable
vi 'r pencil full of colour and flowing, lay over that place with
a thick and fuhftantid Body of colour, which before you
had only washover, in the doing of this you muft be
very [wifi, keeping colour moifl that you have laid, not
permitting any part to dry til the whole bo cove-
red.

<iA f rim I on (f round, \

If you would have your (ground (frimfon like
Sattin , you muft with Indian- Lake trace out
where and in what_> places you will have thefe flrorig
and hard lights and reflexions to fall, which is feen in_^
Sattin or Velvet, there; lay your lights with a thin and
ypaterijh lake y and while it is yet wet with a jlronger and
darker colour of lake tbick^ ground, lay the deepning and hard
Jlronglhailow, clofeby the other lights; your beft way
is to have a_> piece of Sattin before you to imitate.

After this lay your linnen with a flat vy>bite, Fo, Utthod im
and the Drapery like wife flat , then go over the To“ches°
your face again, endeavouring to reduce each shadow
to its true perfection , therL^draw the lines of the Eyelids ,
expreffing the rcddark^S^oflril, the shady entrance in-
to th cEares, th c deepnefs of the Eyebrows, and thofe
moreperfpicuoustt^i and marki *n the face , with a pen-
cil fomewhat more curious and sharp then before, you
may darken your ground as you fee will be moft advanta-
gioustothe fettingout th cTiXure. ’

88 The Art of Limning.

Tht h.w Next go qycr your hair heigbtning and detpnim
it as you shall fee by the life, drawing fom clocks loofc-
ly over the ground, which would otherwife feem un-
plea [ant.

Linnen shade. To Shadow in Linnen, ufe blacky, white, a little
yellow, and lefs blew, the b/acly mult be deepned with Ivory-
blacky with which mix a little Laly, and Indigo, or Lit -
mm blew, thus much for the fecond fitting.

Fhe manner of finishing at the third fitting.

Third ftdng. he tforci will be wholly fpent in giving
the firong touches and oblervations neceffary for the
rounding of a face, which you will now better lee to do5
the apparel, hair and ground, being already finished. In
this fitting curiou fly obkrve whatever mayconduce to fi-
militude, which is the chiefeft thing, as Scars, F\lolesi
&c. glances of the Eyes, defending and circumficUions of the
oSXLouth, never make your deepe/l shadows fo deep as they
appear in the life.

"Thus much of the Face and three fittings,

F or Ornaments thus.

orient. ^ymour five a) for colouring armour, firft lay Li-
quid Jilverflat and even, which dryed and burnish with a
Footh , temper the shadows with Siher , Indigo , Litmus ,
and a little Vmber, workthefe shadows on^the Silver as
directed by the life .

Gold Armour. For the goldarmour , lay gold as you did fiver*
for the Shadow , Laly, English Ocur , tempered with a
littlegold.

rearis. To exprefs rottndnefs and lujlre of F earls, youn*
ground mu&bcwhite and Indigo , youn, shadow blaclyand
Finely

The Art of Limning. 80

‘Diamonds areexpreft with Aground of flat Li- Diamonds,
quid /ilver, the deeming is (Jherrifione, tot^and Ivory's the
deeper the fhadow, the fairer the ! Diamond .

Lay a ground of fiver, burnifht to tho hignefi km*.
of th c^Ruby, theiotake Turpentine ol the be/I and pure/I,
and temper with it very neat a little Indian Lake;
thero taking a needle, or fo trie (mail Iron injlrument heat-
ed in a Candle , ( lay or drop ) a little of the compofitioio
upon the fiber, fashioningthe Jlone in it* round or J quare,
or what fafioion you pleafe, with the point of your in/lru-
merits, youmuft let it lye a day or two to dry, if it bo
too long in drying, add to your compofition alittlo
powder of clarified TATaficf; Ibis receipt u not commonly
known.

Fora ny green jlone, te m p e r y our Turpentine. o E me rau Ids,
with Ferdigreafe, and alittlo Tumerickjoot, fir ft ferap-
ed with Vinegar , then let" it dry, then grind it to find
powder , and temper it.

Mix Turpentine^ with Vltramarine , Sec- s*?hire ~
Note thaO the ground to all mud bo Liquid fiver po -
lift.

oj[ true Receipt to make liquid gold .

;

Take of fine leaf gold, the Value of is, 6d , ^ugoui
grind this gold with a flrong and thief gum- water upon o
reafonable large Jlone , which you mu ft grind very fine,
and painfully ; as you grind it, ftill add more of youo
flrong gum-water, and though the gold look never lb Mac. ^
and dirty Tis never the worfe, having brought-’ it to
acompetent finenefs y wash itiio a great fell as vou did
2 Vice-, &c. Being very clean add to it a littlo quantity
of TMercury fublimate , with tho point of your Knife «
which youmuft temper with it, and a very little gum
to bind it in the (hell, and as it Jetties, and begins to dry

in r the /bell, shake it together, and remove; and

fpread the gold about the Tides of the (hell, that it may

be altogether of one colour and fnenefs , ufe with fair

ivatcr, as you do the other colours.

Not,. So for liquid /liver, only obfervo ( and ’tisa fe~

cret) that whcn_> your fiber either with long keeping or

moijlnef of the Air be comes {lamed and nt/ly ; you muff

to prevent this inconveniency, before you lay the

fiber Cover over the place with a little fuice of frarlick^,

which will prefer ve it.

/ M

Of Landskip0

I

in drawing Landslip with water colours ever begin
with the 5%,andif t here be any Sunbeams, do them firft.
Purple Clouds. For the Turtle Qouds, only mingle Lake and
white >

reiiow. Th c Sun-beams, Adaficot and white.

Note r . Work your blew Sk^e with [malt only, or Vltra-
marine .

Note 2 . At your fir ({working dead colour all the piece over,
leave nothing uncovered, lay the colour [mooth and even.
Notei. Work the Sk[e down_j in the Horizon fainter as you
draw near the Earth , except in tempefluous skies, work
yourfurthcrc5^o««^///jfo that they should feem_>to
be loft inth caAir.

*°'e 4. Your firft ground muftbeof the colour of the Earth

o

and darl{j yellowifb , brown , green, the next fiicceflively
as they loofein theirdiftance muftalfo faint and abate
in their colours.

Notes- Beware of perfection at a diftance.

Notec, Ever place light again flidarl^, and ^r^againft light
( that is) the onlyjway to extend the profpeB far off,
is by oppofing light to Jhadows , yet fo as ever they muft

loofe

The Art of Limning" y i

loofe their force and vigor in proportion-, as they re-
move from the Eye , and the-> ftrongeft Jhadow ever
near eft. band.

<iA DarkCjreen.

For a darf green for Trees mingle V erduter. Thick , and
Indigo , the deepcjl fhadows of all in green arc mado with
fap green and Indigo,

(tA fare fecret to preferve Colours.

Take fofemary water double dif tiled, and with a few
drops of i t_>, temper your [hell of white , and you shall
fee it become inltandy perfect: white, however dead
and faded it was before, befides this water aUayes tho
Bubbles in white and umber, which are ufually very
troublefome in the grinding them.

Some general obfervations in Aiiniture.

t. If your colours peel or by reafonof thegreafinefs
of your Tarcbment will noL_> lie on, mix with them a
very little Ear wax, and t’will help them.

2. Sit not above two yards from him you draw by.

3. Draw not any parr' in the face of a picture exactly
at the fir ft, neither, fnifh a EMouth, Eye or Jfofe, till
the reft ofyournwl^comeup, and be wrought toge-
ther with it.

4. When you have finished the Face, make the par-
ty ftand up to draw the Drapery by him.

5. Let the Tarty you draw be fet in an higher featthen
your felf that draw.

p 2 The Art of Limning.

To ma!<e Crayons orTaflils.

pajnis. Xo inftance one for all, if you were to make

zTaflil for & brown complexion, grind on your /lone, ferns, red
lead, or vermillion, English ocur, and a little pinckj to this
add a proportionable quantity of plaijler of parts, burnt and
finely fifted, mix this with the other colours, and you may-
role it up.

n°u. M ix white Stmt with all your other colours , and
feme infteadof Serm ufc Tobacco pipe clay.

¥0 make white.

scr:«. Take two parts of ordinary chalf, and one partr'
of t lAllum , grind thofe together, fine, make them up
in a lump, burn them in a £r«c/p/e and ufe them.

To make white Lead.

white uAd. Xake a fruciple whereinto put feveral fmal
■plates of clean Lead , covets them with white wine Vinegar*
hut the Tot clofe and dig an hole^j in a dunghill, where let it
abide for the fyace of fix Weeks • Take it it up andferape
offthe Superfluities of the white Lead, and fo ufe them.

To prepare a Card fora Tilhtre .

Wet a card all over with a great pencil fo foone as
the water is funck in, burnifh it fmooth on the back^fide, ha-
vingtemperedfomey?W^witha kpifein the palme of your
^Wfpread it over, inftantly lay on a piece of abortive
parchment y let it be prefl in a book till it bealmoftdry*
then fmooth it on the bac\?fide.

To preferye Colours fresh, grind them with the gall of a bAfleek

To prepare JVhite Excellently .

Take fome Serm which being grofly bruifed and

put

The Art of Limning. p j

put into a fine earthen Vafon, put to it a good quantity
of running water diltilled, wherein wash the Serus till
it be throughly clean and purged, which you shall know
by the Tafte of the water , which is drained from
thence.

Is made thus, take of Oy l of Turpentine ono
pound, Sandrake one pound, 0>/ of .V^/7^ one pound,
mixt the Oyles together, and let all Hand over the fire
till the Sandra\e bediffolved, if the fire should chance
to catch hold on this, clap a pewter dijlo over it.

Concerning W ax-worfor Moulding, to mah the Moulds .

T ake a good big lump of plaijler of Vans and rL’ UouU°
burn it in a Queiple till itr* be red hot^ letit cool, thenbeat
it" very fine, and fearfe it through a "Tiffany Sie've ; be
very cautious that" the wind come not at it, for that"
will hinder its hardening ; after it" be tempered keep it wrapt
up m_; a clean brown paper, ufe it thus; take any Earthen on,
TewterVcfiel, thatis shallow, and put tensor twelve
fpoonfulU of fair water in it, then prepare your fruit, and
bind a rag round it like a cord in a wreath long wayes
on the fruit: then take fome Unfed Oyle or ( which is mor@
cleanly) Oylo f fweet Mlmonds , with which in_^ a pencil be-
fmear the Lemmon , or ()what other., fruit it be) on the one
fide, which lay uppermoffyour Lemmon thus prepared,
takelomeof your fifed plaijler of "Paris, and temper it"
in the fore-mentioned water to a pretty tbiefnefs, then-»
as fpeedily as may be with the help of your ffioon, . caft
it on the oyled Lemmon , lay it o jl-> very thief, leaft the
thinnejs of the TALould fpoil the worf when_j’tis hard-
ned( which will be in eu fmall time)) take away your
rag , leaving the linnenfk ill fall in it’s half mouldy which
done tu rn the hardned fide downward , then Oyl the other-
half of the Lemmon together, with the edges of thd

mould i

a

94 The Art of Limning.

mouldy which the rag did cover ; then wafih your porringer
oi'vejfelwhcre the former plai/ler was clean and prepared s
and caft on more plai/ler of Tarts as before, obferve, if"
mud: not be too thicl{ when you caft it on> and after.,
"tis hardned, you muft put no more water to it, for then
it will crumble • when you have done the moulds fo, and
made a notch that onemay fall fitly into the other, tjre
them-/ clofe together, havingbefore well Oyled them,
and keep them for ufe.

To cajl in tbeje zSAToulds.

To caft- U fe the whitejl and purejl V irgins wax.

To colour the Dp ax anfwerable to the things you mould .
r° coloHr- For a cRsaddijh your ground is Serus, which muft
be afterwards painted over with Lal^e, the top of the
'T^ddi/h painted with Ferdigreafe, all other fuch colours muft
be tempered with gum water-, gum water is thus made,
diffolve a lump of pure gum dAraback about-" the bignels
of a Walnut, in two ftoonfiills of jab watery herewith tem-
per your colours.

Note thatr' every thing <£\Touldable is either all of
one, and the fame colour, as a ( Lemmon ) or Jlriped and
particoloured with different colours, as a Tear, Tearmain^c.
Now fuch as areof one colour maybe eafily caft all of
the fam c colour; but fuch as are yaricated muft be kept out
afterwards by colours tempered with gum water (as above)
you colour your wax by putting into it whileft it is hot
and melted in-j a Cj ally-pot , a little linnen bag of that colour
you ufe, provided that the colour be before bruifed very
fine.

As to particulars for the Lemmons or aJ pricocks, take
only 1l urmcrickjrL^ a bag, for Oranges turmericfiand red Lead
well tempered; ^Apples, Tears , o r (y rapes, turmericfi and
a little Verdigreafe, IV allnuts and figs> mix turmeric^ and
f nglish Ocur? and Vmber all in~> a bag together, (jucumbers

The Alt of Limning, 95

or Hartichoaks, Teefcods or Filbirds, turmeric verdigreafe Sggs
and Serus, all put into feveral baggsznd fleept in the Fir-
ginswax, when’tis melting as before mentioned, for Da-
mafon bru ife C harcole, Indigo and blew Jlarcb in_j a bag toge-
therefor flesh colour, white Lead, and^rnwY/w/mixt, &c,

T o counterfeit <rBsochcandid fweet meats.

Diflolve the quantity of a walnut of gum Arabad ^ 'Kochc*n d ).
in two jfoonfulh of cicarwater , let it be very thicks theio
take any piece of broken V enice g/afs , the thicker tho
better, beat it in a worter, fo fmall asyou plealc, that
it may ferveyour occafion, daub ovec_. fome caft fweet
meats, with the fore-mentioned^;;? water, drew this
powder oru them, and fwill with much delight fatisfie the
expectation.

Additional Obfervations out" of a *S\danuJcript of
Mr. Billiards touching Miniture.

When you begin to Limn temper-, all your colours
fresh with your Finger, inybmfhell, or on your pallat,

Heart.

Your Veart mud belaid with a white mixture , with a_*
little blacky a little Indigo and e SMa/lick^, but" very little
in comparifon of tho white, notto thehundreth part;
that dry, give the light of the P earl withalittlo fiver 9
fomewhat more to the light then the jhadowed fide, o *
then tako a white allai’d with z5\4a(licot, and under-
neath the jhadowed fide give it a comparing flroal^, which
shews a reflection i then without" that a fmall fhadow
of Seacolc undermoft of all: But note, your fiver muft
be laid and full.

* Fhe manner how to draw with Indian Inb^

To draw with Indian /Rafter the manner of Wafhing,
Or infteadof Indian /;;^tako Lamp- Factor Dread burnt ,
temper tu little of your Indian I nl^ with fair water, i vlj

A a 2

9 6 The Art of Limning.

cu / hell , or upon your band, your outlines being drawn-*
with Cole or hlacl^Lead, take an indifferent-; long jloarp
pointed pencil, dip the; point into fair water, then dip the;
pencil into tho Indian I if, and draw all your outlines
very faint , ( Note that all tho temperature of Indian I nk^
mult be thin and waterifh , and not too bladfl) when itr* is
dry , take a little crum^ of (lalewhite bread, andruboutthe
outlines which you drew with the C0^, (tftoo blackj then
da/lo on your ( hadows very faintly , and deepen it by degrees, as
you think convenient, then finish it with flipples, it be-
ing moft advantagious to any one that shall pra&ico
'Limning, beware of taking too much colour in your pen *
til , which you may prevent^ by drawing the pencil
through your Lippsi in laying on your shadows, never
lay thenoto^/rrp, but deepen them down by degrees, for
if toodeepyou can never heighten them again.

How to prevent your colours from jinking in.

Take ‘Roach <* Allum and boyle it in feting water, then-?
take a bit of a feunge and dip it into the water , and wet
the backyfide of your paper that you intend to draw on,
very thin , whileft the water is hot, in thc^a wetting of it
be as nimblo as you can, and this will prevent it
from_; fenking.

The manner how to draw with water colours upon Sattin.

T ake Iging glafs and fleep it Four and twenty hours
in water, then hoyl it in Jfitit of wine untill it be very
clammy, which you will perceive by dipping your fin -
ger into it, then aftem your outlines are drawn upon
the Sattin , take an indifferent big pencil > and wash it
^/;iover as far as your outlines are, which will prevent
your colours from— > finkhig or flowing.

st/l farther obfervation in grinding of colours .

Obfervc in grinding ultramarine and other colours, that

your

The Art of Etching. pg

your motion be not too fwift, but grind it gentle and flow,
becaufethe Jwiftnefs of the motion , caufeth the f tones to
beat, by which confequence your colour will Jtarte oil,
loofe fometh ing of it’s Luftre, efpecially if it be a colour
of no great Body as Einck^ and Indigo , &c. obferve,
in grinding white, that you grind it not^too much,
lcaft it pro vegreafy or oyly, or of a dirty colour .

How to prepare Vmber.

Tak cVmbcr and grind it very ’fine, put it into an earth-
en pot ox gaily pot, of fairwater , coveritover and keep it"
from dufl , and in frojly weather, let it freeze untill it thaws
ofitfelf, then power off the water, and when it is dry
put it up in paper for your ufe. And when you temper
iti n-j your [hell, ufe a drop or two of white Onyon water
which will preferve it from cradling.

The Art of Etching.

The grounds and %ules of Etching .

BEfore that"" you begin to Etch uponL^ copper , it is
very neceflary topradfifo the Art of drawing , till
you be able if need requires to draw any head
after tho life, or to draw a defign , for if you in*
tend to praSice the dTrtof Etching , you willfind it very
profitable to draw after good prints, which are well de-
figned , andgraW, and when you have praBifed fo long
that you are ablo to coppy any print, or drawing very ex-
aBly-, then draw after good Heads of plaifier or figures ,
according to your own fancy , which will learn-; you
to fhadow according to dffrt, if well obferved, there-
fore be fare when_j you draw after plaifier , to obferve^
very exa&ly to talced the true outlines ox circumferences ,
and thenL take notice how the fhadow falls , then_-> fha-
dow it very faint and [oft, where need requires. The
printswhich I recommend unto you as abfolutely the befi to

Bb learn

pg The Art of Etching.'

learn to Steb or Cjras>e after, be the prints of Henry Cjoldshis
and Hernon EM idler, therefore it is very convenient
to leaan to batch with th cTen exaBly after, either of the
aforefaid prints of (foldflis or EMuller, and when you
have brought it to that perfection-, and can draw very
well after plaifler, you may praBife to draw alter the life ;
but beforo you draw after the life, you mu ft be very
exact and true 1 n your outlines or circumferences.

The lnflruments with their particular names
■which are ufed to Etch with all.

A f'opper plate policed, a pieco of ground bound up
in a_> piece of Silf or Tajfatae, and preferved from any
dud or gr cafe ■ and about twenty JYjedlesoi all flags, the
beft are made at Qcafe ; then take the Ufeedles and let
them_> indifferent deep into fome round fender flick, s about
a flpanlong, with a 5\(eedle at one of the ends of the flicks,
and a pencil at the other, a feraper, a polijher, and two or,
three good French gravers, wellgroww/and whetted, and a
pair of Compafles, a 'flitler, i'omcgreenrrax, a Bottle which
holdeth fome half a pound of flngle nAfta /omiftop-
cd clofe with fjfiwaXj fome whiter Lead, a Stiff, a hand
Vice to hold the Plate over the fire , an Oyl f lone .

The ife and property of every particular In flmnent .

The CopperPlate is the only matter to Etch upon;
theground is to lay upon the Copper Plate, when they
are bcnli warmed ; your CAfecd/cs are to hatch withall upon
the ground, the pencil is to wipe away the bits of ground ,
which rife when you hatch upon the ground with your
Hflctdles, the feraper is to fcrapc_j outr' any thing that is
amifs, the Polisher is to male efmootb any place that_> is
rough , I'o that you canmend any place that is amifs ac-
cording to your own Mind ; the Gravers are to mend
here andtherea ftroaf where need requires. Butnote,
that" your (gravers muft be ground, and whet very Jharp
andfmootb, upon an Oyl flone_j before you ufe them,
, your

The Art of Etching, 9*)

youL, Compares are of very littlo ufe iru Etching , ex-
cept it r' be to nteafure a di (lance , or jlrikc a Qrcle> the
Ruler is ufed to hatch all the jlraight batcher or Lines upon
the Plate. Thcgr^umzxisuled to make a fFall round
about the edges of your Plate, to keep the oA qua fortir
from running off from the Plate , the Aqua fonts is the
finisher of the work, when you have hatched the de-
fign upon the Plate with your Needles. The whiter
Lead is ufed to [crape upon the badgfide of the drawing or
print that-" you Etch after. The Stift is ufed to draw
through all the outmoft Lines or circumferences of
the print or drawing which you Etch after. The Oyl [lone
is to whetr’ your (gravers upon; having thefe things
in readinefs, Note that if it be a black Ground that
lyes upon the Plate, then you muft take white Lead and
rub itr' upon the bacl^fideot thz print or drawing which you
intend to Etch after, but if it be a white Ground,
then you muff take black, Lead , or a piece of Charcole
and rub on the bac\ ^ of your print as aforefaid.

The manner and way to mal^e the (ground.

Take a quarter of a pound of V irgins wax, and half a
quarter of a_> pound of Expoltum burnt , oEzAmber One
Ounce, of Ma/ltc fiOnc Ounce. Having all thefe materials
in_^ readinefs, you mull take the AAAafiic\ and the
Expoltum^ and beat them very fine in a mortar; this be-
ing done, take a new earthen-* Tot, and put the wax
into it, and fet it upon-/ th c fire, let not the fire be
tooto,whichifyoudo itw ill burn the ground-, therefore
when they are throughly melted y take it off from the fire >
and pourthe^mW out into a Tot of fair water , and make
it up into a Tall, andpreferve it from du(U and when
you will ufeit, take a, quantity o£ it andbinditup in_^a
piece of Tajfatae or Silfi, and ufe it as hereafter.

<*A red (ground.

Grind red Lead, very well tempered with Vernifh.

Bb a A

joo The Art of Etching.

A white Cjround .

Take of wax one Ounce, Bpfin two Ounces , melt them-j
together, add thereto a quarter of an Ow/a? of Venice^
Scrits , finely ground

qj[ blacky (/round.

sputum. ^Jfbhaltum two parts, Beeswax one part, melt them
together, being warm, lay it thinly on^ with a Lawn rag .

Another (/ round .

Grind red Lead with Linfccd Oyl; Note, your ground
mult be laid very thin.

L he manner and way to lay the (/round upon the Blate .

Takefeme ( harcole and kindle them, thisbeingdone,
take an hand-yice and /crew it fafl to ono of the comers
ofthePlate, as near to the edge as you can, becaufo
you mull lay the ground all over the Plate, then-; take
the Plate and hold it over the fire , till it be lo warm to
melt th t ground, then take the ground which is bound up
and r«6it to and fro upon the Plate till it be covered all
over alike; then take of the fliffeft Feathers out of a Buclq
wing that is not ruffled , and fpread the ground very thin ,
and fmooth every where alike upon the Plate, but have
afpecialcare you beat not* the Plate too hot, lead: you
bum the ground i which if it be, the ground will breakup
when you put on the^^/om>andfpoil the Plate? you
may difeover when it is burnt , by its riling as it were
fandy, which if you perceive, you mull take a clean Imnen
rag, and warming the Plate,wipe the ground off, and lay

anewasaforefaid. But if you perceive the ground to
be fmooth and not fandy , take it off from-? the fire , and
when it is cold, take a piece of Link^ and hold undent
the ground till you have fmoakgd it very blacky but leLj>
not the flame touch th^j ground, lead you burn it, this
being done, if the Plate be cold hold itr' over the fire
agairL_> till it be j uft warm, to let the fmoak/nelt into th cj>
ground, that itmay not rub off under, youvhand, then

hold

The Art of Etching. ioi

hold it off from_-> the fire , with the ground- fide of the
Plat cdownwards for to prefervo it from the dujl , other-
wife when the ground is Warm, dujl will flye in and
fpoilit, thereforeyou mufthold it with th c ground- fide
downwards untill th e ground is cold .

T'he way to draw the outmojl lines of any Trint or drawing upon

the ground of the cPJatg_j.

Firft take the drawing or Trim which you intend to
Etch after, and [crape a little white lead upon the haclfi fide
of it, then take a feather and rub it ovec^ every where
alike, and fhakg off that which remains, theri-> take
the print and lay it upon the Plate on that fide the ground
is, then fallen^ the four corners of the print to the Plate
with a little [oft wax- this being done, tako the Stift
and draw upon the print all thc^ outmoft circumferences
ax\Alines exactly , and when you have fo done, takeoff
the print from-/ the Plate, and all the fame outlines and
circumferences which you drew upon-; the print with the
Stift y w i 1 1 b e exactly and unfailably u p o n t h e ground \

Several Ob fixations in Hatching .

Firft obferve exactly and judicioufly how your principle
is ) hadowed , and how clofe the Hatches joyn, and how
they are laid, and which way the light falleth ol cometh •
the/i^femuft fall all one way, for if the //Vk fall fidewayes
ifi-jyom print, y o u m u ft hatch t h e other fide which is far-
the/l£\ fom the light darkeft, and fo place your lights alto-
gether on the one fide, and nor" confujedly to have the light
come on both fides alike, as ifitr'ftoodin the midft of
many lights, for neither doth the light withall its bright ±
nefs illuminate any more then that-' part that is dircBly
oppofite unto it, then obferve exaBly how clofe all tho
Hatches joyn, and how they are laid, and which way
they twifl and wind, then_j follow7 them as exactly as pof-
fibly you can, but before that you begin to Hatch or
(hadoWy you mult draw7 all the outmojl lints with a 'Jfeedle

Cc upon-

102

The Art of Etching.

upon the ground , as <t Artificially as you can 5 and then_j
you muft fhadow its with your jfecdles of feveral forts
according to your principle , and when you will make
a broad fir oak^ then break off the point of a great (eedle
and 'whet it' upon an Oyl /lone four fquarc untill it comes
to a_j pointy and if you will hatch fine firoaks, then you
mud ufe fine pointed Bfeedles • and if middle figcs , then
break off the point of a middle fixe Ufjedle, and whet it as
aforefaid, and fo according to all (i^es. But fomo
oSM a filers when they make a hold flroafij hatch it fine at firff,
and fo by degrees make them broader .

Bfccefiary Obfervations in Etching Landslips.

Gbferve when y7ou Etch Landslips, to make ol hatch
that" which isneareft to the Eye darkefi , and fo let ic
lofe or decline its fbadows by degrees, and that which is
fur theft off muft be faintefl > and fo lofe equally by de-
grees . the fame Obfervation muft bo in making the
Slfie, for_, that which is neareft to the Eye muft be the
darkefl [hadotycd, but in general as faint and Jo ft as pofli-
ble, and foalfolet" it lofe by degrees as before is men-
tioned, and the nearer the Skie cometh to th c ground,
the more it muft lofe and be fainter • but when they as
it were meet together the Skie mujl quite be loft , and
when you have hatched it as exaBly as you can pofiibly with
your 0\fecdlesy according to th<o print or drawing, that"
you doit after; this being done, compare them exaBly
and judicioufly together, and if you finditrlike the ori~
gin a/ take fome green foftwax , and make a Wall round
about the edges of the Plate.

How to make the Wax wall round about the Elate , to kgep the
oyf qua fort vs from running of from it.

T ake fome green foft Wax and temper it till io be warme 2
theo draw it into a long / lender roul as long as will reach
about tho Plate, then flat it zn&fafienit about the edges
of the Plate, andlet it be about half an inebhigh, then

take

The Art of Etching. ioj

take an old kn'fi and beat it iio the fire, and fear the Wax
round about under the P late very clofe, otherwife the
cJquiL j fortis w ill run out, but be lure to fallen the wall
as near to the edges of the Plate as you can convenient-
ly, thenu pour the Aquafortis upon the Plate, letting

it lye till it be deep enough.

Ho'w to ufe the Aqua-, fortis on the "Plate.

You muft ule {ingle Aqua-, fortis. Take a quantity of
zAqua fortis and pour it into aglafsmd mingle it with a
little Vinegarto weaken it if it betoo Jlrong, oralittlo
nA qua-, fortis which hath been ufed before; for in cafe
the Aqua— fortis work too jlrong , it will make.; the worf
very bard, and fometimes make tho ground to break
up; and when-, you have tempered it very well, poure
itupoiothe Plate almo ft as high as the wax mall ; the deep-
er the <• Aquafortis lyeth, the harder it will cat, and where,
you perceive it to bo deep enough, pourolf the Aqua
fortis from-, the Plate into a glafs , and preferve it to
mingle with other as aforefa id ; this being done, take
fome fair 'water and mjh the Plate, and then_» take off
the wax trail and preierve it for., the fame ufo again;
theawarme the Plate and take a clean linnen rag when il_>
is indifferent tv arms, and rub off the ground from_. the
Plate very clean, then take {ome Oyl and rub over- the
Plate to clean it, and if you perceive thatr' the Aqua for -
tis hath not eaten zs deep in fome places, as it should be,
then itmuftbe helped with a (prayer.

Obferyations by which you may fnow when it is deep enough.

When-, the <tA qua fortis hath lain upon the Plate a
littl e_a more then a quarter of an hour, or half an—' hour ,
there being no certainty in time, becaide fometimes
the Aqua^fortis will work f ranger then at another;there-
fore when you thinkit is deep enough, pouf off tho
Aqua— i fortis from the Plate into a glafs , then wajh the
Plate with a little fairwater, then take a and [crape

Ce 2 off

jo4 The Art of Etching.

off a little piece of the ground where i tr* is hatch,, and
may be leall prejudicial to tho Plate, and if you
perceive it not tobe deep cnoughytake alittle candle ta/lov?
and melt it in a ffoon, and while it is Warm, take a penal
and cover the plate with it > where you [craped the ground
off, then pour the aqua-fortis upon it again, andJetit
lye till you guefsit to be deep enough •, then pour, the
Aqua-* forth from the Plate as aforefaid, and at any
time when you perceive thao the eA qua forth doth not
mrkjlrong enough, you pour off half the old , and re-
fresh it with (omenew, for when the aAqua-j forth hath
been-j upon the Plate about half an hour, it will bo
much the waller, becaufe the jlrength of itr’doth evapo*
away, and by a little puffin? you will como to
the certain knowledge when the Aqua forth hath eaten deep
enough.

Another way to know when it is deep enough .

Take a little piece of a C°pf>er and lay a ground
upon it as you before mentioned , and make zu Wax
wall about it, then hatch it with feveral hatches as you
think beft, and when you pour the Aqua forth upon
the one , pour it upon the other , and when you think
they be eaten deep enough , pour the Aqua forth frorro
the little Plate, andwafhit with fome as afore-
faid, then take a Ifnife and [crapes off a little piece of
the ground from tho little Plate where it is hatch , and
in cafe you percieve it nor' deep enough, cover the
places again with fome warme candle tallow , and then pour
the Aqua forth upon it again till you guefs io be e-
nought then pour the Aquafortis from the little Plate
again, and try as before, and ifyou feeit to be enough,
pour the Aqua forth from the great Plate, and wafh itr
with a little /^/V water before you warmit, or elfe the
zA qua forth will fain the Plate.

A

The Art of Etching. iojf

way to lay a white (f round upon a IBlacf.

Firft you muft underfland that mod grounds are blach^
and when you lay a white ground upon a black, you muft
not fmoak^ the blacky with a Lin{, and you muft lay the
undermoft ground the thinner > when-/ you Jay a whiter
ground upon it 5 and if you would lay white groundup-
on a ->bUc\j, takeaquantity of Serice, as much as you
think will cover the plate, andgr/Wit very finewnhgum
watery and temper it very thiny then take a pencil and wafh
the plate all over very thin and even .

way to lay a red Cj round upon a blachfif round.

T ake the red Chalk^zndgrind it r1 very fine with gum water y
then-; take a pretty big pencily and wafh the plate all oven,
with the red ground very thin and f moth , as before men-
tioned

dA ^Receipt for aground takgn out of a Manufcript of Collots.

Take ^.quarter of a pound of Virgins wax y and half
a quarter of a pound of the beft Sxpoltum. burnt of Amber ,
and half a quarter of a pound of *5\4afiic\ if it be warm
weather y becaufe it doth harden the ground and preferve
it from in jury * when you lean with your hand hardupon
it; if it be cold weather, then take but an_> ounce of
^Alafich^ this being obferved, then take an ounce of
Tig fin, and an ounce of Shoomakgrs pitch , and half aiL^*
ounce of other pitchy half an ounce of Vernifh; having
all thefe materials in readinefs, take a new earthen pos$
and put the Virgins wax into it ; and when it is melted *
ftir it about, and putin the other materials by degrees as
before mentioned* and when they are throughly Ming*
led and melted y take the pot off from the fire and pour itr*
out in a clean pot of fair water, and wor\ it into a Z&2#, and
preferve it from duft and greafe9 and when you have oc-
cafiontomake ufeof it, take a quantity thereof and
bind it up in a piece of Sil^ and make ufe of it as be-
fore mentioned*

1 06 The Arc of Etching.

71] c Ground of Ejne brant of Vine.

Take half an ounce of Expoltum-, burnt of Amber, one
ounce of Virgins vvax, half an ounce of VAT. a fief „
then take the EMafthf and Expoltum, and beat them
feverally very fine'm a Mortar; this being done, take a
new earthen pot and fetitupona Charcole-fire, then pur"
theVirginsvvaxinto itandwe/at, thenshake into it the
EMafick and Expoltum^by degrees , ftirring the Wax a-
bout till they be throughly mingled, then pour it forth
into fairvvater and make a 7>all ofit, and ufe it as before
mentioned, but be fure you do notr’ beat the plate too
hot when-; you lay the ground on it, and lay your blacky
ground very thin, and the tub it c ground upon it, thisisthca
only way of Tdjncbrant.

7 be tray to prejerye any (j round, "which is laid upon

a Elate in Frofty weather.

•

T ake the plate and wrap it very warm in a wollen cloth s
and lay it-* in the warmed place you can convenient,
for if the frofl is gotten-dnto th c ground, it will break up
when you pour the Aqua forth upon it.

aA way to preferve the Tlate from injury of the Aqua-j
forth) where the (f round breaks up.

If you perceive the ground to break upirL_> any place 9
pour off the zAqua^forth from the plate and wafh it with
a little fair water , then take a quantity of Candle tallow and
melt it in^a fpoon, and while it is warm take a pencil and
cover the Plate which is broken-* up with the faid
tallow , and fo far as tho tallow is fpread , the dAqua fortis
will not eat •, fome make ufo of V erni/h inftead of tal-
low, and when you have covered the place that is brokff
en , pour ohj the Aqua-, forth again, and let it lye upon
the plate till you guefi it hath eaten-) enough ,* then pour
the (t Aqua forth from_> the plate and preferve it, then-*
taketho wax Wall and preferve it alfo, and wash the
plate with a little fair Water* then-»ruboffyour^««^/

as

The Art of Etching. 107

asaforeftiid, and for the places which xh^j ground breaks
up in, it mud be helped with a C jraver .

Therefore it will beneceffary for one that defretb to learn this Art,
to praBice graving a little 3 fo much as to help a {iroakgwhere you thin {
convenient.

way to makg the Aquafortis worhjoft or hard
according to nature or art.

Firft take Candle tai low and melt it in 2u ffoon , then with
a pencil cover that placo fo far as you will have it to
be faint, but note it muft be after the Aqua^fortis hath
lain upon your plate an indifferent^ while, and fo by
degrees you muft ufe the tallow as you would have it faint-
er,this is very neceffary when you Etch Landslips, which
muft lofe and ftand atadiftance^ by degrees , therefore
when you Etch Landslips, obferve to ftop off that place
firft which muft be fainteft, andfo by degrees ftopir'
off, and make it lofe equally > and note the nearer_, you
come to the Eye, i t muft bo jlrongefl and darkejl fbaded ,
but not on that ft de from whence the light cometh
for that fide muft be preferved as faint as may be, but
according to art.

Obfervations in Etching ProffeBive.

ProffcBive is a thing thatr" is one of the difficulteft
oArts that”' is praftifed ; becaufo it is nor" rightly
underjlood , buo bv good oArithmetic/^ $ otherwifo
you can never undcrfland projfeBive , becaufe you cao
never guefs rightly how much a Pillar or Figure, or the
like muft decline, ox lofe at their feveral diftances, ac-
cording to Art and "Proportion . Fon, when you Etch
0 piece of projpeBive after a drawing or a print, ob-
ferve thefc Rules, beware of pcrfeBton ab adiftance*
and be fare to floadow that which is neareft to the Eye „
perfeBcJl and ftrongejl , and the farther frorro the Eye , it
muft decline inlength and breadth? and heighth according to

D d a Art

io8 The Ait of Etching.

An and Proportion, obfervo alfo to let it lofe and bo
fainter by equal degrees .

A iv ay to (jrave any hand or letter upon a Copperplate .

Take fome ( harcole and kindle them, then takoa
hand-vice zndlcrew it to the comer ofthe/?/^e, and hold
it oven, the fire till it be warm, then take a piece of
Virgins wax, and rub it all over, the plate until! it is co-
vered every where alike-, this being done, take a
ft iff feather of a Duckswing thatisnot truffled, and drive it
even and fmooth every where alike, and let it coole,
then write the hand and letter whichyou intend to grave
upon the plate, on a piece of paper with ungumd [nl{j then
take the paper which you have written, and lay that
fide which is written downwards next to the wax,and
fallen the four corners with a little [oft wax, but be fure
to place the writing fo , that the lines may run
flraight, then you muft take a Dogs Tooth , and rub
the paper all over which is fafined, and not mifs any
place; this being done, takeoff the paper from_~, the
platcj* and you shall fee the very famo Letters which
you wrote on the paper hath left’’ their perfect impreftion
upon_j thewvwc; then take a Stift and draw all the Let-
ters through the wax up otlj the plate, and when you
havedono that, warm the plate , and take a linnen rag
and rub the wax clean off, and you shall fee all tho
Letters drawn-) upon the Copper, then get fome good
French Cf ravers and grind them, as they should b <u> very
(harp towards the points u p o n_j a (frind - flone, and after-
wards whet them very fmooth and sharp upon a good
Oyl jlone, then Cfrave the Letters with them.

The way to polijh a fopper Plate.

At firft you buy the Copper rough, then you have it'
planifhed, if you cannot do it your felf; when it" is
planished, , then you polish it with thefe following Inftru -
ments.

The

The Art of Etching. top

* The Raines of the Inflmments or ’Toolcs "which are ttfed
topolif a (^offler^Plate.

A Plain which cuts very well, and of aru indiffe-
rent-' btgnefs, but not broad; fome pieces of pumice- f ones
fome pieces of S and- f ones , and fomecuS Vloulton-flones 3 a
foft j blew fone, and a burnijber and fcrapcr-y and lom o
Char cole.

The ufe of every particular Pool or Injlrument.

Firft fallen your Plate with fome fmall Jfaih r, to a
place that is as high as your middle 3 thcii-j make ufe
of the plain to shave all the roughnefs off froni^ it and
make if very even in all places alike, and if you per-
ceive any craclfis or little holes upon that fide which you
Jhave> then you muftx/?^ them all clean out, and when
you have shaved it even and fmooth with the plain, then
take a piece of S and- f one, and## the plate with fomo
water, and rub to and fro with the ftone upon the plate >
till you have worn it very fmooth and even every where
alike, but" be fure to choofe the fioftef fones, becaule
they make the lead [cratches • and when you have worn
it even and fmooth with this fone , wash oft the [and from
the Plate, and take a piece of Pumice flone^a and rub
to and fro upon the Plate, quite a crofs the grain of
the former fone, becaufe it is of a hard fandy nature ,
and will therefore leave fome /cratches ; therefore the
Pumice fone is of a more fofter and fpungy nature^ and is
alwayes ufed to Ware out" the formers [cratches : and
when you have room out all the former f cratches , you
will perceive thereto be worked into /finer grain /hen
Wash the [and very clean off from— > the plate , ; then
make ufe of the moulton [lone, and wor\ with it quite a*
crofs the grain of the Pumice fone , untill you have room
it quite out • withall be fure you fupply this and all
the other fones with mater, when you work with them

Iupon the plate , and when you have worn out all the

E e [cratches

iio The Art of Etching.

[cratches of the Tumice [lone clean out, then for the fourth
makeufe ofth t [oft blew [lone, it being of a very [oftgrain
and fofter then any of the former; then work with
that quite acrofs the grain of the Moulton- /lone, till the
grain is worn out, but if you perceive any [cratches in the
plate here or there, rub them over with y ouc_. burnisher
till you have work’t them out , but in cafe they are
very deep , you muft mako ufe of your [ craper , and
[crape them out , and burnifh them afterwards •, this be-
ing done, in the fifth place you mull burnifh it all o-
ver ; lad of all take a cbarcole which is throughly
burnt , and [crape off the j fyne ; then put it in the fire till it
is throughly l{[ndled, then take it out and quench it iil->
Chamber Lee, and make ufe of it as of the former, till
you have gla[ed the plate 5 then wash it very clean with
fairwater, and let it dry.

{ The Manner or Way of tOMe^o Tinto .

"JClrJl take a very well polijhed Elate of Copper , and rujfen it all oyer
** with your Engin one TP ay, then cro[s it over with the Engin a*
gain , andif you find occa/ion, then cro[s it over the third time, untill
it be ruffe ned all oyer alike ( that is to Jay) if it were to bc_j printed , it
would print blacl ^ all oyer • this doney take Char cole or blacfi Chalky to
rub oyer the plate , and then draw your defign with white Chalk^upon
the plate, then tal{e a [harp Stift and trace out the outlines of the defign
you drew with the white Chalky, and wberc__j> you would have the light
ftrike jlrongefljake a burnt [her, and burnifh that part of the plate .where
y ou Would haye the light ftrike as clean as it was when it was frfl poli -
fhed • where you would haye the fainter light , you mufl not polifhit
fo much, and this Way you may make it either fainter or flronger, ac-
cording to your fancy. As for the manner or shape of the Engin ,
they are diyers, and if any ingenious perfon haye a defire to have any
made, the Author will give them farther directions.

FINIS,

A Table of the Contents of this Book.

OF the Vertue and Praife of Proportion orSymetry.

Of the Neceility and Definition of Proportion.

Of the Head in Porphile or Side-vvayes.

Of the Fore-right Face.

Of a Head inFore-shortning.

Of the Side- Face vvithout any Meafure.

Of feveral Obfervations in drawing a Head after the Life,

Of the Proportion of a Man of ten Faces.

Of the Proportion of a Mans Body of ten Faces.

Of the extravigant Proportion of ten Heads.

Of the Proportion of a young Man of nine Heads.

Of the Proportion of a Man of eight Heads.

Of the Proportion of a Mans Body offeven Heads.

Of the Proportion of a Woman often Faces.

Of the Proportion of a Woman of ten Heads.

Of the Proportion of a Woman of nine Faces.

Ofthe Proportion of a Woman of nine Heads.

Of the Proportion of a Woman of feven Heads.

Of the Proportion of Children.

.. ■ ; " ' ■ i ■ ■ ' "■“■.ii i ii n'lMnaaniiilBMd-.LU.^

The Definition of Painting.

Of the Vertue of Light.

Ofthe Neceility of Light.

Ofthe Nature of Light.

Of the Vertue and Efficacy of Motion.

Ofthe Neceility of Motion.

Ofthe Paffions of the Minde their Original and difference
How the Body is altered by the paffions ofthe Minde,

Ofthe Motions procured by the feven Planets. j

Of Jupiter.

OfMars.*

Of Sol.

Of Venus.

Of Mercury.

Of Luna.

How all the Motions may accidently befall any man though dif erfly.

Of Divers others Neceffary Motions.

Of the Motions of all forts ofCloth or Drapery.

Of the Motions of Trees and other things that are moved.

The Art of Miniture or Limning.

Of the colours to be ufed in Limning.

The way and manner of preparing colours*

Of white Lead.

Colours to be washed and How.

Of Colours to be washed.

Of Colours to be ground.

Of the Nature of Colours in general.

Obfervations in grinding.

To wash Bice.

How to choofe your pencils. * .* £p

To prepare a Tablet to work on*

The ground colour for a Face.

The Order of shadovves for the Face*

Tobeginn a Face.

The Order to be obferved in drawing by the lift

5*

7-

Ibid.

9°

IQ.

ly.

Ibid.

X&

2©.

21.

22,

Ibid,

Ibid.

24.

3S-

38.

40.

44.

48,

ST-

58.

5 9.

60.
Ibid,

61.
Ibid.

<54,
6?a
71.'
_ 74*

77*

Ibid.

■780

Ibid.

Ibid,

79°

Ibid,

Ibid,

Ibid.

8i«

Ibid.

Ibid,

$%0

If,

84,

The Contents

Concerning dead Colouring. IbicL

The fecond work of Limning. 8y>

1 he Order of Limning in the fecond fitting. 86.

A Crimfon ground. 87.

T he manner of finishing at the third fitting. 88.

Concerning Ornaments. I bid.

A Receipt to make Liquid Gold. 85.

OfLandskip. 90.

A Dark Green. 91.

A rare fccret to preferve Colours. Ibid.

Some general Obfervations in Miniture . Ibid.

To make Crayons or Paftiles. 92.

T o make white. Ibid.

To make white Lead. Ibid.

T o prepare a C ard f or a Pi&ure. Ibid-

T o prepare white excellently. Ibid.

Concerning Wax work or Moulding. 93.

T o call in Moulds. 94.

T o counterfeit Roch Candid fyveetmeets. 95-.

T o counterfeit Pearl. Ibid.

T he manner how to draw with Indian Ink. Ibid.

How to prevent your Colour from finking 96;

The manner how to draw with water colour upon farcin. Ibid.

A farther obfervation in Grinding. Ibid.

How to prepare Umber. 97.

The grounds and rules of Etching. Ibid.

T he Inftruments with their particular names to Etch vvithall. 98.

Tne ufcand property of every particular Inftrumenc. Ibid.

The manner and way to make the ground. 99„

A red ground. Ibid.

A white ground IOO,

A black ground. ] bid.

Another ground. Ibid.

The manner and way to lay the ground upon the Plate. Ibid.

T he way to draw the out lines of any drawing upon the Plate. IOI

Several obfervations in Hatching. ibid.

Neccllary obfervations in Etching Landskips.

How’ to lay a wax wall upon a plate. ] bid.

How to ulc A qua Fortis on the plate. IO,

Oblervationsby which you may knowvvhen it is deep enough. Ibid.

Another way to knowvvhen it is deep enough. I04.

A way to lay a white ground upon ablack. IOj

A way to lay a red ground upon a black. Ibid.

A receipt for a ground takv n out of a Manufcript. Ibid.

The ground of Rinebrant of Rine. lQg

1 he way to preferve a Ground in Frofly wear': er. Ibid

Away to preferve the Plate from injury. jbid

A wayto make Aqua Fortis eat foft or hard. 1Qy

Obfervations in Etching profpcdivc. Ibid

A way to grave any hand or letter upon a Copper Plate, 108

The way to polish a Copper Plate. ibid,

T heNames oft he Inftruments ufed to polish. 2 0 ^

T he ufc of every particular tool or lnftrumcnt, Ibid

The manner or vvayofMczo I into, 1Ie

A N

APPENDIX

T O

The Art of Painting

I N

M1NITURE

LIMNING:

DIRECTI NG

The Choiceft, Safeft, and Neareft Way to attain to Perfe-
&ion in the (aid Art ; with all the feverai Mixtures and Temperatures
of the COLOURS for every feverai Work, and the manner
oflaying the Ground-colours, and howto Htighten and
Deepen upon them ; and Dire&ions for Drawing of
Hiftory in Limning , with feverai Proper
Obfervations.

And alfo the feverai Ways of making Cryons or Paflils^mtb.

the feverai Ways of Working with them.

Never Fublifoed before .

- — 4 —

By A l exander Browne, Gent.

LONDON \

Printed for Arthur Tooksr , at the Globe in the Strand, over again ft Ivie-
Bridge ; and WillUm Battenby, ^iThavie's InneGate in Holborn,
near S. Andrew's Church. 1^75.

. .

*.y

■

• s 'C ••

■ v.-ovo!

■ - ' ■

■ { ■ •

™ ip A ?H. . , j;

? ••

-a, i\ - ■ ' ' • 1 '

-fU\ ;

T O

My Worthy and Honoured Friend,

PETER LELY, Efq;

Painter to His Majefty

O F

t

GREAT BRITAIN , &c.

SIR,

Have Experienced (T hope Not too late )
that Addrelles made to Perfons of Great Ti-
tles do not fo much advantage Writers, as the
Cuflom ^Dedications would maty the World
believe. This pojfibly others have found as
well as I, who now humbly asl^from you (One,
if not in the Rank of Greated Men, yet of the Greated and
Bed Artids) ProteSion and Favour. He mofl values that
tyiowsmoft, and will zealoufly conferve what he perfectly un-
der (lands. I cannot be accus'd of Vanity by any, nor fufleffed
of Flattery by Tour Self if I fay , No Man in Europe is a Fitter
Perfon to Patronife Art : And if thofe Painters themfelves
( whofe Lives I here prefent ) were now on Earth , and capable
of matyngt heir Wills, they would , what I now , intreat. For
certainly there cannot be a more lading Monument of Eterni-
zing Paint then Mr. LEE T's Name. Whiled You own
their Tranflated Memories they will never die. Tour Hand
has not onely made the Dead and the Graves Debtors to Ton ,
but the Living owe the Befl of themfelves to Your Pencil
How many that are now Old, and not Handfom, would have

¥

The Epistle Dedicatory.
loft the Remembrance of their Youth and Beauty,^ not their
Complexions and Firft Vigour, Drawn by You, continued
their Glories') All Scions of the Year, all Stages and
Deg rees of our Life, are at once in view . The Gravity of
Age, and the Pleafantnefs of Youth, live together in the fame
Perfon. But thofe Honours payable to Y our Merit deferve a
better Pen. Ax for that Part of my Boo\_ which lays down
Rules and Dire&ions, and feems to wear the Habit of a Ma-
iler, I beg Tour Pardon ; for when it gives Inftru&ions to
others, it waits for Corre&ion from You ; and I pray it may
give me at leaft a Fair Opportunity of Knowing my Faults,
jince I Jh all have this benefit to be Reprehended by a Skilful
and Kind Judge. In the mean time Your NAME willfe-
cure mefrcm the Severity of Curious Men, and the Epiftle fo
Nobly and Strongly Fronted, will guard the Book, which has a
long time been Ambitious to be in Your Hands , and does to
Your Service with all Submijfton devote it felf and

Y our mofl Humble Servant,

ALEX. BROWNE .

I

A N

APPENDIX

TREATING OF

The Arc of Painting

I N

MINITURE

0 R

I . I M N I N G.

Is convenient to treat firfi: of the Colours na-
turally and (imply by themfelves, without
a Mixture with each other, and to Nomi-
nate them particularly ; and the rather be-
caufe in my former Treatile of Miniture I
did fall flhort of what I do intend now to
treat of at large. I fhall firft begin with the moft ufeful and
onely neceflfary Colours properly uftd in Miniture > and after
that give you an Account of thole Colours which may be
omitted, and are unneceflary ; for *tis certain, that many
Colours are rather a Confufion then a Help.

Ff

An APPENDIX to

The NAMES of the COLOURS
Mod ufeful and onely neceflary
for M IN ITU RE.

{ Flalg White }

Beds

Carmine
Indian LaJ^e
Cynnabar Lal^e
Florence Laf^e Blews C. r

trt , ««■

Yellow Ofyr burnt ]

Vltra Marine)
Dutch Bice j

Y ellows

Light Maflicote
Deep Maflicote
Y ellow Ohgr
Bom an Ol^er
Gall- ft one
Light Pinl ^
[DarJ^ Pinf^

Green Pinlf
greens {Green Bice
T err aVerte

J :

• • J f \ \ 1 j f' ^ r .

C C oil ens Earth) {Burnt Ivory )

Brown^f mkr]BMs \le? Cokf >

yJmher
(Ruft of I

ron

Cherry -ft one burnt (
Verditer burnt \

the An of LIMNING.

Of the Nature and Property of the Colours not ufeful , and

the Reafom why omitted.

Of which I fhall begin with Cerufe. As for Cernfe , it is
too Yellow, Courle, and Gritty. Spanif) Brown is omitted
as not being lb Brisk and Glowing as Indian Red. R ed i half^
is too Foul and Dirty, and alfo Englijh Ohgr burnt . Artifi-
cial Vermilion may be omitted, becaule that Native Cynnabar
is better, of a Brisker Colour, and better Condition’d, As
for Orpiment , it is both Venomous andCourfe. Verdi greafe
is extremely Courle, and will fade if you prepare it never lb
well. And all Colours made of Juyces in Germany will cer-
tainly fade, becaule they are of no Body, and will Ihine
much. Englijh 0\er is good Condition’d, and may be made
ule of ; but Roman 0(\er is more Glowing : therefore you
may omit the former, and ule the later. Sap Green may be
omitted, becaule it both fhineth and fadeth : and Green Pin\
is uled inllead ofit, becaule it hath neither of thele Faults.
Mummy is every way ill-condition’d, and hard, and will not
flow out of your Pencil, unlels you burn it in a Crucible well
Luted ; fo prepared, it may make a good Blad\. But as for
Blacl\s , thole Four which I principally mentioned before, are
fufficient enough to do any thing withall, though there are ma-
ny other Blacks uled, as Grape-ftones burnt, Vine-ftalks
burnt. Lamp Black, Blew Black, and many others I could
name, which in my Opinion are rather a Confufion then an
Help ; which for brevity’s lake I omit , haftening to treat
of the Temperature! , which are uled in general for Sha-
dow!.

V.

Of Temperature! generally ufed for Shadows .

Thele following Temperature! art two ways uled; one
way is to temper with your Pencil upon the Palat, your Na-

F f 2 tura!

4 An APPENDIX to

tural Colours being firft plac’d therein order, then wet your
Pencil in Water, and temper upon the Colour you intend to
make ufe of firft in your Temperature, then rub your Pencil in
a clean place of your Palat, leaving part of the Colour upon
the place : and in the lame manner take from as many of the
other as fhall be direfted for fuch and fuch Temperatures.

The other way is dipping your Finger in Water,and tem-
pering them in the fame manner as you did with your Pencil,
placing your Colours fo Mix’d upon your Palat in order.

T befe following Temperatures are ufed for Drawing
Heads after the Life .

I. Temper , Lake and Indian Red.

II. Temper , Red Lead and Roman Oker.

III . Temper , Indian Red and Ultra Marine.

IT. Temper , Indian Red, Pink and Gall-ftone.

V. Temper, Yellow Oker and Indigo.

VI. Temper, Red Lead, Pink and Indigo.

VII. T emper , R oman Oker, Red Lead and Indigo.

VIII. Temper , Pink, Red Lead,Y ellow Oker and Lake.

IX. Temper , Lake, Roman Oker, Indigo and White.

X. Temper , Indigo,Roman Oker, Pink, & Indian Red.

XI. Temper , Umber, Mafticote, Red Lead, and Pink.

XII. Temp ery Roman Oker and Pink.

7 befe following Temperatures are ufed for Colouring and
Shadowing ingeneral for Hiflories.

I. 7 emper , Sea Cole and Lake.

II. Temper , Umber and Mafticote.

III. Temper, Yellow Oker Burnt and White.

IV \ Temper, Umber and Ultra Marine.

V.Tem -

the Art ofLiMNIN G.

V. Temper, Umber and Lake.

VI . Temper, Verditure burnt, Red Lead, and White/

VII. I emper. Ultra Marine and Lake.

VIII. Temper, Ultra Marine and Red Lead.

IX. Temper, Ultra Marine and White*

X. Temper, Indigo and White.

XL Temper, Indigo, Lake, and W hite.

XII. Temper, Indigo Pink and W hite.

XII I. Temper, Indigo Oker and White.

XIV. Temper, Indigo, Madicoteand White.

XV. Temper, Burnt Ivory and Lake.

XVI. Temper} Cherry-done burnt. White & R ed Lead

XVII. Temper, The bed Rud, Indigo and Pink.

XVIII. Temper, Lake, R ud, and Light Pink.

XIX. Temper, Rud and Lake for the deeper Shadows*

Temperature? for Hair .

I. Temper, Roman Oker, and White for Light Hair.

II. Temper, Y ellow Oker and White for Lighter Hair.

III. 1 emper, Rufi:, Roman Oker, and White

IV. Temper, Light Pink, Yellow Oker, and Sea Cole.

V. Temper, Dark Pink5Rud, and Roman Oker.

VI. Temper, The bed Rufi:, Gall-done and Pink.

VII. Temp er, Florence Pink, Burnt Ivory and Lake;
which makes a good Shadow for Hair or Face.

VIII Temper, For Light Hair, Umber, Yellow Oker,
and White: Deepen it with Umber and Cherry-
done.

IX. 7 emper. For Dark Hair, Umber, Yellow Oker,
and Cherry-done : Deepen it with Umber and
Cherry-done.

6

An APPENDIX to

Of Colouring and Shadowing of Hiflory in Limning. , and
alfo other Necejfary Obfervations.

The differences between Limning Pi&ures to the Life, or
Hiftory, are Infinite * notwithftanding the fame Colours that
are ufed for one do alfb ferve for the other. And to parti-
cularife but part of what may be well faid upon this Subjeft,
would be too tedeous, if not endlefs. The moft Remarkable
is moft certainly in the Variety of Colouring of things ac-
cording to their feveral Sexes and Ages ; and alfb of Inventi-
on of ordering and well Stelling. All things which are to
be reprefented, are many times according to the Humour,
Judgment, and Difcretion of the Mafter We fee generally
in the Practice of the beft and moft Famous Painters, that
they that do follow the Life, do tie themfelves ftri<5tly and
precifely to follow what they fee in the Life, toimmitate it
as near as poflible; yet in their Inventions they affume to
themfelves iuch a Gentile Liberty and Licence, both in Co-
louring and Ordering; but not fo far as to run into thofe
Extremes as Barthohm<£us Spr anger, Henry Golt^ius, Abra-
ham Blomart, andOuteawale^nd feveral other Dutch Painters,
run into about the Year 1588; for their Inventions at that
time and A&ions were fo extravagantly ftrain’d and ftretcht
to that degree beyond Nature, that made their W orks feem
to the Judicious Eye very Ridiculous,,and contrary to Na-
ture ; and at that time it was grown to fuch an Impofture or
Mode, that he was counted no Mafter that could not ftrain his
A&ions in that extravagant manner. Which Mode was after-
wards laid afide,and the W orks that thofe Mafters afterwards
made were incomparably Good, by their Embracing more the
Ancient Itjlian way of Designing, which was more Mo
deft, Gentile, and Graceful. So far they abufed the Model!:
Licence , that fo Graced the Admirable Works of Titian ,
Michael Angelo, and moft of the Eminent Italians of that

Age.

the Art of LI M N 1 N G. ?

Age. And others have been as Extravagant in their Co-
louring. Which two Extremes may be both avoided by
imitating that Divine Titian for Colouring, who was of all
others efteemed the belt.

Of the four hfnds of Colourings, which are generally to be
ohferved in Hijlorical Limning.

In brief, I imagine there are Four kinds of Colourings ge-
nerally to be followed and obferved in Hiltory, vi^. of Young
Infants, of Fair Women , of V irgms middle aged, and Old Wo-
men. And every of thele Complexions is in the power of
the Judicious Mailer to vary and change his manner of Co-
louring, according as his Genius or Judgment dire&s him, or
as the Subject requires. As for Infants and Young Chil-
dren, they are commonly of a thin and tender Complexion ;
the Camatian and delicate Colour Nature affords in the
Cheeks and Ears, the Skin appearing almoft Tranfparent ;
which you may very well exprefs with a Temperature of
White Carmine and a little Red Lead. The Shadows are to
be Thin, Subtile, Faint, and Tender ,as the Parties you would
reprelent. The Cheeks, Lips, Knees, and Toesmufl be more
glowingly coloured then the other Parts of the Body.

To Ipeak particularly of the feveral Mixtures, and Sha-
dows, and Colourings requifite in this Work, ’twereendlefs;
fo innumerably and varioufly hath Nature difplayed it lelf
as well in Colouring and Shadowing, as in Symmetry. The Li-
nen and Lawn about thefe tender Bodies are to be made Thin
and Tranfparent, and indifferently ftrong touched in the
th ickeft Foldings.

Gg 2

Ob-

8

An APPENDIX to

%

Obfervations on the Complexions of Virgins and fair

Young Women .

The Complexions of Virgins and Fair Young Women are
not fo much different from the other in the Colouring : as in
the Sharpnefs of the Work, thofe few and fharp Mufcles in
the Body are Gentle and Eafie to be exprefled. As for the
Shadows, temper White and Pin\, and Indigo and White ;
and in feme places Lafy, a little Indigo and White , which gives
aPurplifh kind of Colouring. And if you attain to perfe-
ction in this or any of the reft, there cannot be imagined a
nearer, nor more infallible Dire&ion, then a diligent Obfer-
vation ofthe Life; which you may follow with the better
Affurance, fince you already know the Colours, and how to
mix and temper them at pleafure. As for Womens Bodies,
I mean Naked, they are to be reprefented Soft, Round,
Plump, Gentle, and Tender, and without many Mufcles.
The contrary, Mens Bodies are to be reprefented Strong,
Sturdy, Stout, and Vigorous ; the Mufcles exactly placed
and drawn, which to do with Judgment and Underftanding,
requires Time and Study, and Knowledge in Anatomy. The
beft way to underftand a Naked Figure, is to draw much after
thofe Statues of Bfcup or Barter , in which you have Varie-
ty of Nakeds fufficient,and of the moft Famous Mafter of the
World : Next, to pra&ife after the Anatomies of Vander
Graft , as alfo after the Anatomies of Plafler of Pans, and
laftly to draw much after the Life by Nakeds. But before
this you are to underftand, that you muft firft draw thefeveral
parts of the Face diftinCtly,and then whole Heads in feveral
Adions, then Arms, Hands, Legs and Feet, Thighs and
Trunks of Bodies, and fo proceed to Whole Figures. All
which 1 have lufliciently ftored this Book with, and as many
as are convenient for any Young Practitioner, and then let
them pra&ife after thofe Statues aforementioned

Of

the Art of L t M N I N G.

<9

i*'

Of the T emperature and Colouring for Old Mens

Bodies.

An Excellent Shadow for Old Mens Bodies, temper Pin^
LaJ^e, and Red Lead : and in the Extremed Deeped Sha-
dows, or Deepenings, either in Face or Body, temper LaJ^e
and Ivory burnt, which will make an Excellent Glowing
Shadow, and is very ufeful in the Exprelling of the feveral
Furrows and Wrinkles in the Face and Hands of People ex-
tremely Aged , with their Dark Eyes and Melancholy A~
fpe&s, which affords Sub;e<ft enough for the Ingenious Artid,
to fhew the Riches of his Invention and Spirit, efpecially if it
be futable to the Hiftory to have many Figures of feveral
Sexes and Ages in one Piece.

The Manner of Dead Colouring a Whole Figure
necejfary for Hiflorical Limning.

Of Dead Colouring there is two ways or manners : The
one is to temper a Flefli Colour fomewhat Lighter then you
intend it to be after it is wrought down by the Variety of
Shadowing Temperatures, which Flpfh Colour you mud
temper in a large Shell, becaufe it requires a Quantity ; it
mud be of a good Temperature, neither too 7 hick nor too
Thin; this done, you take a Goofe quill Pencil full of the
fame Colour, and lay it on quick, even, and fmooth on the
place where you defign the Figure ; if you be not very nim-
ble in the laying 'it on, ’twill not lie even. The other way is
thus ; indead of Flefli Colour make yfe of the bed Flal^e
White well prepared, and lay it on with the fame fized Pencil
as before mentioned, and lb you Dead-colour it as the Oyl-
Painters do, which mud be done Free, Rough, and Bolded
of all. But note, that you draw all the Out-lines of your
Figure fird with a Temperature of Lahg and White , before

H h you

lo An APPENDIX to

. . _ _ 1 ! 2

you lay the Ground-colour for the Flefh. Obferve in the
Dead-colouring that you leave not your Shadows too Dark,
Harfhj or Hard, next to the Light; but Faint, Even, and
Mifty. This done, temper Labg White and a little Red
Lead , with which you muft touch all the Glowing places both
in Face and Body, as your Genius or the Life fhall dired you.
This is to be done extreme Faint, becaufe if you lay it once
too Dark, you cannot heighten it up again without running
the hazard of fpoiling it ; but if too Light, you may deepen
it by degrees at your pleafure. This muft be done in a
Hatching manner. In the Face you will perceive a faint de-
licate Rednefs under the Eyes, inclining to a Purple, and is
frequently feen in Fair and Beautiful Faces. The next you
touch the Tips of the Ears with the forementioned Tempe-
rature, as alfo the Cheeks, Lips, and Bottom of the Chin, and
fo you proceed to the Sole of the Foot , touching in all the
following Mufcles and places with this Glowing Colour.
Then temper Gall-Jlone and Pinf^ for the general Yellowifh
GlowingShadows, and in forne places you adde to the for-
mer Temperature a little Lafye. Then you will perceive in
the Life a Faint Blewifh Colouring in fome parts of the Bo-
dy, which you exprefs with a Temperature of Indigo and
White , and foyou proceed according totheSubjed you draw
after, whether the Life or Copying after a Painting : But
note, After a Painting you follow the Colouring in general,
as near as you can, and after the Life obferve the fame Rule.
All thefe Shadows are to be expreffed after the manner of
Hatching with a Pen, with Gentle and Faint Strokes, wafhing
it all along.

In your Dead-colouring obferve that you cover your
Ground-colour with the aforefaid Red and other Shadows.
Obferve that you be not too Curious in the firfl Working,
but rather make choice of a good Free and Bold Following
of Nature, then to affed an extreme Neat way. Let not the
Roughnefs of the Colour difeou rage you from proceeding

the Art of L / M N I N G. 1 1

for that is to be wrought down and'couched by degrees with
the other Shadows, but not at firft ; then by degrees yon
fweeten and heighten your Shadows according as the Light
falls • and in fome places you are to touch it with ftrong
Touches, and in thofe places bring your Work up together
to an equal roundnefs and ftrength, not finifliing any part of
the Figure before the other, but vilitingand working all the
Parts curioufly alike, and in a manner at random ; by which
means you may the better oblerve the Roundnefs, Colour-
ing, and Shadowing, or whatever efte is requiftte to the per-
fection of this Work. Then having done with the F ainter
and other Sadows, fweetening and working them into the
Ked{[\\\. Be extreme careful in obferving all the Variety
of Colouring, and alfb with your Pencil you more curionfly
delineate thofe feveral Varieties of Nature, which you rudely
had traced out before ; which to do, you mud make ufe of
the fame Colour in the fame places as you did before, working
in, driving, and fweetening the fame Colours one into ano-*
ther, to the end that nothing be left in your Work with an
Hard Edge, Uneven, or in a Lump together ; but all as it
were fweet, or driven one into another with the point of
fomewhat a (harper Pencil then is ufed commonly at the
firft; fo that your Shadows may lie Soft, Sweet, and
Smooth, they being difperfed, and gently extended one into
another, like Air. But obferve, that the Skies and Waters,
Trees, Plants, Flowers, and Ground, are all to be Dead-co-
loured before the Figures

Temperatures for Garments with their Shadows .

For Scarlet temper Carmine , and deepen it with Indian
Lafy.

Another way is, to temper Native Cynnabar and a little
Red Lead , and (hadow it with Indian La\e.

For Crimfon temper Cynnabar , La\e3 and White ; deepen

Hh 2 it

12 An APPENDIX to

it with Lahg. Be fure to obferve when you temper any of
theft Colours for a Complexion or Garment, you temper it
on your Palat or Shell with your Finger ; you muft temper
it very well to mix them all together, and of a good Tempe-
rature, not too Waterifh. And be lure you preferve all
your Colours from Duft; and before you temper either in
Shell or upon your Palat, brufhoff the Duft with a large
Pencil or blow it off.

Some further Dire&ions how to temper and mingle your
Colours by way 0/Compofition or Temperature, to
mahg all thefe following Colours , and alfo the
manner how to Deepen or Shadow them .

For Carnatian temper Laf^e and White , and deepen it or
fhadowit with

For a Violet temper fine Dutch Bice and Lafy, and deep-
en it with Indigo.

For a Purple temper Bice and Lafyy and a little White ,and
deepen it with Lafy and Indigo .

For an Orange temper the beft Red Lead and a little fine
Yellow MaHic and deepen it with Gall-flone and Lafy

For Orange Tawny temper Cynnabar, Light Pinl and a
little Yellow MaJlicJ^; fhawdow it with Gall-ftone and La^e.

For a Peach Colour temper Carmine and a little White ;
deepen or fhadow it with Lafy.

For Poppinge-jay temper Pin\ and a little Indigo ; deepen
it with Indigo.

For French Green temper Light Pinl ^ one part, and fix
parts Dutch Bice ; deepen it with GreenPinf\.

For Sea Green temper Bice, Pin1^y and White ; deepen it
with Green Pirn

For Straw temper Yellow Mafticote and very little Cyrma-
har ; deepen it with Dar\\Pin\\.

For Skie temper ZJltra Marine and a little White ; deep-
en it with Indigo. For

the Art of L 1 M N I N G. 1 J

For Lion Tawny temper Red Lead and Mafichy deepen
it with ZJmher.

For Afh* colour temper Cherry -f one and White, deepen it
with Burnt Ivory.

As for all Temperatures wherein there is Dutch Bice , be
fure to make choice of that which is very Fine ior your ule,
orelfe you will find that in Working it will lie very Rough
and Uneven, and will not Cover well. As for Indian Lal^e,
*tis the Brisked, Brighted, and Bed-conditioned of all other
Lafys but it being very fcarce and dear, indead thereof
you may ule Florence Lal\e .

Of Drapery, or drawing Apparel.

As for Apparel and Clothing of Perlbnages, you ought to
be extreme careful not onely in the Habiting every thing pro-
perly belonging to the Degrees and Funftions of thePerfons
reprelented, but alio in giving them their right and proper
Colours. As for Example, the Bleded Virgin is univerlally
and by common confent reprefented in Purple and Azpure ;
S John , commonly in Scarlet , I mean the Evangelid , for
S. John Baptift is never without the Hairy Mantle : the red
of the Apodles are veded in Green or Crimfon , and as it plea-
leth the Painter. As for the manner of Drawing of Drape ~
ry, 1 find but two ways in Miniture .

I he firfl way or manner of Working ofT) rapery.

The fird way is that which the Italian and French do ufe,
working it with the point of a Pencil, and Hatching it ; and
other places dipled all over alike, yet fo as when it is finifli-
ed, you may perceive the Parchment appear in feveral places
quite through the Work, which in my Opinion is too flight
a way. That manner I do approve of better, for Wafhing

I4 An APPENDIX to

or Drawing any Defign with Indian In\, and indeed ought

not to be called Limning but Wajhing.

The fecond way or manner of Wording 0^ Drapery.

The fecond way is that which I fhall recommend to you as
the beft and mod proper way. Firff, lay a good full flat
Ground all over where you defign your Drapery , of what
Colour you would have it. This Ground-colour being laid,
you will find it much the eafier to work on, upon which you
both heighten and deepen, according as your Genius or as the
Life fhall diredf you. If you would have the Drapery blew,
you take an indifferent large Pencil with Vltra Marine , or
inftead of that Dutch Bice , if it be very well prepared ; let
your Pencil be pretry full with either of thefe Colours, then
lay the Colour all over the place you intend for Drapery
Even and Smooth ; you deepen it with a Temperature of
Lafy and Indigo ; your Heightnings muff be very Faint and
Fai r in the Extreme!!: Lights. T he fame Order you are to
obferve in all Dr apery of what kind foever, and this was
Ifaac Ohvar s Way.

I have feen feveral R are Pieces of Limning done in Italy ,
and in Germany : In one I remember there was Crimfon Velvet
Curtains, and Cloth of Gold exceedingly well exprefled, and
heightned with fine Shell-Gold ; in this you would hardly
bel ieve what an Ornament this Heightening with Gold , and
what Luff re it gives to fair-coloured Draperies , as Crimfon
Velvet , Red,Green, and Blew ; efpecially if you mix fbme
of the Gold with the Ground-colour it felf, which will make it
much the fairer. And in this fame manner William Bower ,
and Lucas V an-Valtynberge heightned all their Works of Ar~
chite&ure and Buildings ^tcuWy in Rich and Stately Rooms
and Palaces. And fo tar Albertus Durar was in love with
this manner of Working, that I have feen in feveral of his
Pieces the Dirty Earth , the Dried Stales of Rotten Trees , and

Sticks

the Art of L I M N / N G. i 5

Stithy of Hedges in Landskips, Heightened with Gold. And
other Remarkable Obfervations there are, which you will
meet withal! better by your own Practice then by my Re-
lation.

Obfervations and Dire&ions in Drawing Garments,

Obfervation L ■

Fird, be lure that you draw the Out-lines very True
and Faint, becaule the whole Grace of a Pifture confidetK
mod: in the Outmoft Draught, more then in the Curious
Work within. And to perform thisExadly you mud lute
the Garments to the Body, and make them Bend and Yield
with it ; and not make them Strait and Stiff where it bendetho
And to ft the Garments rightly to the Body, you mud ob-
ffrve which part of the Body bends in or out, that the Gar-
ments may anfwer to the Body upon the lead Turning any
way. That the Garment may turn with it, you mud ob-
ferve where the Body fhould come if it were Naked , and
there make the Garments in the right place, making them
Bend according to the Joynts and Limbs of the Body, fome-
times plainly to appear through the Garments, efpecially
where the Garments are driven by the Wind, or by any
other occafion lie Loofe to the Body. Indeed where the
Body, or any part of it, dicks out more then the other, it
fliould be fhewn in a plain and vifible manner through the
Garments : Which thing you mud take notice of, efpeci-
ally by the Life ; as you may fee it extraordinarily well ex-
preffed in thole Statues of Rome , done by the Hand of the
aforementioned Bifcup or Parier. Be fare to exprefs it
Lightly, and with a kind ofTranfparency,

Qb~

f

A

An APPENDIX ta

1 6

Observation II.

• . * /

You mult begin at the Upper part of the Garment, and fo

draw down that part of the Garment (on both fides) that
lies Clofe to the Body, before you draw the Loofe parts that
flie off from the Body; for it you draw the Loofe parts
firft, before you have finished thofe parts that lie Clofe to
the Limbs and parts of the Body, you will be foon Out, and
apt to place the Body Awry and Crooked ; therefore many
Matters draw the Naked Body firft, and put on their Gar-
ments afterwards ; by which means they can better fee to
place the Garments rightly, fo as to hang Even upon the
Body. By thefe means you may be fure to place the Body
{freight , by drawing thofe parts of the Garment firft that lie
neareft upon the Body or Limbs.

Observation III.

You muft draw the greateft Folds firft, and fo ftrike the
greater Folds intolefs; and be fure you let not one Fold
croft another. Break alfo fome of the Folds into lefs ; and
the Cloler the Garments fit, the Narrower the Folds muft fit.
And you muft obferve to order your Garments fo, that the
Folds may fall all one way, efpecially in a Standing Figure :
though fometimes it will be otherwife, as when a Figure is
drawn Sitting. But the Garments of a Standing Figure
are fubjeft to be driven by the Air, and therefore muft be pla-
ced one way. But you muft obferve not to fold your Gar-
ments in any place where they fhould fit ftreight , as the
Breatts, Knees, and Thighs bear them out : which muft be
furpriled as aforefaid,by the Appearance of them throughly;
and therefore the Garments muft always fit Plain.

ON

the An of LIMN IN G. 17

Obfervationsfor Placing the Lights, and for Shadowing of
Garments, and other things in general .

Obfervation L

Let all the Lights be placed one way in the whole Piece of
Work, whether in the Figure, Faces, or Garments. If the
Lights fall fideways on the Pi&ure, you make the other fide
(which is furtheft: from the Light) darkeft. And let the
Lights be placed all together on the one fide, and not confu-
fedly on both fides alike, as if it flood in the midft of many
Lights ; for the Body cannot otherwife be Lightened Equal
in all places. Nevertheless you may obferve, that when we
expiefs a Dungeon or Prifon wherein a Torch is lighted, you
muft obferve that every thing in it, as well as the Garments,
mud receive their Lights from it, and therefore muft be Sha-
dowed all on the contrary fide, that is, on that fide furtheft
from it. And this you muft be fure to obferve in all your
Shadowings of the fame nature.

The Reafm ivhy the Shadows mufl generally fall one way.

Firft, becaufe the Light doth not with all its brightnefs il-
luminate any more then that part that is diredily oppofite
unto it.

The fecond Reafon is taken from the nature of the Eye '
for the firft part of the Body coming to the Eye with a big-
ger angle, is feen more diftindly , but the fecond part being
further off, is feen by the Eye in a lefler angle. And if you
are to draw two or three Men Standing together one behind
another, though all of them receive equally the Light, yet the
lecond being made further from the Eye, muft be Shadowed
darker, and the third more dark. It is a General Obfervation,
that if you draw many Figures together in one Room, they

fC k muft

,8 J„ APPENDIX to

mud all be Shadowed on the contrary fide from the Light,
whether it comes in at the middle, or end, or any where elle.

Observation II.

That part of the Body muft be made lighted:, which hath
the Light mod diredly oppofite to it ; as if the Light be
placed above the Head, defending then, the top of the
Head mud be made Lighted, the Shoulder next Lighted, and
16 you mud lofe by degrees. That part of the Body that
dands furt'ned out mud be made Lighted, becaufe it comes
neared to the Light, and the Light lofe fo much of its bright-
nels, by how much any part of the Body bends inward, be-
caufe thofe parts that dick out do hinder the ludre of the full
Brightnefs of the Light from thofe parts that fall any thing
more inward ; therefore by how much one part of the Bo-
dy dicks out beyond the other, it mud be made 16 much
Lighter then the other ; or if it fall more inward, then it
mud be made more Dark. As for Sattens and Silks, and all
other Shining Stuffs, have certain Bright Refledions, exceed-
ing Bright, with fudden Light Glances, elpecially where the
Light falls brighted ; and fo the Refledions are lels bright,
by how much the Garment falls more inward from the Light.
The like is feen in Armour, and BralsPots and Kettles, or
any Glittering Metalls : you may fee a ludden Brightnefs in
the middle or centre of the Light, which caufes the Shining
nature of luch things.

O f Pi ofeclive Proportion.

mer

bird, Protective Proportion differeth much from the for-
for according to the didance of the Eye from the
thing, it judgeth of what Proportion it hath. As if one
part of the Body comes nearer to the Eye then the other, it is
to be reprefented 16 much bigger then the other part of the

Body

the Ari of L I M N I N G. 1 0

Body which twines away from the Bye : As if one Leg
flood behind another, the foremod coming firft to the Eye,
mud be made fomewhat bigger and longer then the other,
becaufe the Eye judgeth fb of it. And fo you are to ob-
fcrve the fame Rule in any other part of the Body^that the
Proportion mud be leflened according to the didance that it
is from the Eye ; which notwithdanding cannot be much in
a Principal Figure. But this Rule is more nicely to be ob-
ferved in Cathedral Churches, or dately Palaces, where there
is a great Variety by reafon of their greater didances. As
alfo many times many Figures dand far remote from the
Eye, and fbme nearer, which you are to take /pedal notice of,
that you exprefs thofe that are far off at a didance not too
big nor plain, as 1 have mentioned in my foregoing Treatife
of Landslip in Limning more particularly.

Of a Graceful Pojlure.

The fecond thing in good Fidures is their graceful Pojlure
and Proper ABions , that is, that the true and natural Motion
of every thing be exprefled in the Life and Spirit of it, that
is, to quicken the Life by Art; as in a King, to exprefs the
greated Majedy by putting or defigning him in fuch a
Graceful podure, that may move the Spedators with Re-
verence to behold him. And to draw a Soldier, by putting
him in fuch a podure, as may betoken the greated Courage,
Boldnefs, and Valour. And fo to make a Clown in the
mod Detedable aud Clownifh podure. And fb to make a
Page or Servant in the mod diligent podure. So in all your
Draughts the Inward Affedionsand Difpofitions of the Mind
may be mod livelily expred in the Outward Adion and Ge-
dure of the Body. Now to attain to the Knowledge of
this, you ought mod diligently to obferve the Works of feve-
ral Famous Maders, and alfo to follow their Examples, who
were ufed to delight themfelves in beholding the Eyes of Pri-

K k 2 vate

2o An APPENDIX to

vate Murtherers, the Aftions and Carriages of Wreftlers,and
thofe that fought at Cuffs ; to obferve the A&ions of Stage-
PJay ers , the Inticing Allurements of Curtizans ; and for
T hieves that are led to Execution, to mark the Contrading
of their Brows, the Motions of their Eyes, and the Carriage
of their whole Bodies, to the end they may exprefs them to
the Life in their Drawings and Works.

Of Loofenefs in Drawing.

The third thing Excellent in a Good Draught i sLoofnefs,
that is, that the Body be not made Stiff in any part, but every
Joynt muft have its proper Bendings, fo as it may with the
greater Life exprefs the Intention, that the Figure may not
feem lame and the Joynts ftiff, as if they were not pliable or
capable of Bending * but every joynt and Limb may have
its proper freenefs and loofenefs , according as it may beft
fute with and become the Pofture in which the Figure
is fit.

Of F orefbortening.

The fourth Excellency in Good Drawing is Forefhorten -
ingx which is to take a thing as it appears to our Eye, and
not to draw to the full length and proportion of every Part,
but to make it fhorter, by reafon that the full length and big-
nefs is hid from our fight. As if I were to defign a Ship
ftanding foreright, there can appear but onely her Fore-part,
the reft is hid from our fight, and therefore muft not be ex-
preffed. Or if I would draw an Horfe ftanding fore-right,
looking full in my Face, I muft of neceffity Forefhorten him
behind, becaufe his Sides and Flanks appear not unto me in
their full latitude. Wherefore obferve this Rule, that you
muft always rather imitate the Vifible Proportion of things,
then the Proper and Natural Proportions before mentioned

by

the Art of L l M N I N G. 2 i

by Meafure ; for the Eye and the Underftanding together
being direflcd by the Pro/pe&ive A Thought to be the Guide
and Meafure to judge of Drawing and Fainting. Obferve
therefore that in all F orejhortenings there mud be a Propor-
tion obfervcd according to the judgment of the Eye, that
what Limbs do appear may agree in Proportion as well as in
Forcfbortening.

Gf Natural Guidances

The fifth thing in Good Drawing is, that every thing be
done by The Guidance of Nature ; that is, that nothing be ex-
preft but what may accord and agree with Nature in every
point. As if we were to defign or draw a Man turning his
Head over his Shoulder, I mud not make him turn or wind
more then Nature will admit, nor mud any other A&ion be
forced beyond the limits of Nature, neither fhould anything
be made to come fhort of Nature ; but Nature, though it is
not to be (drained beyond its certain bounds, yet it fhould
be quickened to the Highefi pitch of it. As if we were to
exprefs any man in any V iolent A<fiion,as in a Battel, either
to ftrike,or to avoid the Stroke of his Enemy ; or as in Run-
ning, or W refiling, or Leaping, or other Violent A&ions :
yet mud none ot the(e be drawn in a pofture that cannot
agree with the Motions of Nature, that is, which a Man can-
not imitate with his Natural Body. And fo for all things
el(e whatlbever, Nature mud be the Parent and Patern for
all kind of Draughts.

Some further Ohfervations in drawing a Na\ed Figure,
landing F or eright^ by the Lifeu

In my Opinion , to underfiand how to make choice of a
good Nafyd,&nd to draw it well, is one of the mod Difficult
Studies in Painting, becaufe it cannot be done well without the

LI

un~

22 An A PPENDIX to

underftanding of Anatomy. Being then defirous to draw a
Naked Figure, you firfl: ftrike a Line Perpendicular as long
you would have the Figure to be, then you divide that Line
into fo many Divifions or Parts as you defign the Proporti-
on : the common and ordinary Proportion is Eight Mea-
fures or Heads, whereof the Head is reckoned one of the
Eight. Begin always with the Head firft, becaufe the Body
is always proportioned according to the Head ; then divide
the Head into four equal parts, the firft is intended for the
Hair, the fecond for the Forehead, the third for the
Nofe, and the fourth for the Mouth and Chin. And fince
Nature , that Cunning Work-Miftrefs, is fo extremely Vari-
ous in her Reprefentations, the Painter is not bound to ob-
ferve this Rule exactly when he draws to the life j becaufe
all thefe Rules were intended for no other ufe then to create
the Idea of fuch and fuch Proportions firft in our Brain, and
before they be defigned in a true Symmetrical way upon
Paper, and to prevent us from Defigning our Figures in an
Extravagant or Prepofterous Proportion. As for Exam-
ple, if we fhould take the Phyfiognomy or Afped of a Thou-
fand Faces, perhaps we fhould find them all differing in one
thing or other, fbme men having long Nofes, others fhort ;
feme have an high Forehead, others a low one ; fome that
their diftance between theNofe and the Chin are fhort, ano-
ther is longer. See. So having Skets’d out the Line, and fra-
med the Head, proceed downwards, and one Heads length
from the Chin you draw the Breads, the third reacheth to
the Navel, the fourth to the Privities, the fifth to the middle
of the Thigh, and the fixth to the lower part of the Knee,
the feventh to the Small of the Leg, and the eighth to the
Sole of the Foot. Obferve that you draw the Shoulders
at the Extremities, or broadeft part, to be two Heads and an
half broad, the breadth of the Flips to be but the diftance of
two Heads ; the Arms are to be fix Meafures of the Head
long, but if you reckon the Breads in, they make Eight,

when

r

the Art of L I M N I N G. q ->

when that the Arms are extended out. Note alfb, that when
the Arm hangeth down, it reaches within a Span of the

Knee. - .

Obferve '(as you proceed downwards) to place all the
Mufcles in their right and proper places according to Na-
ture as you judicioufly may obierve in the Life, there being
no certain Rules for placing and drawing the Mufcles in
their proper places 7 herefore *tis extremely Advantageous
to draw very much after the Life, and after good Prints of
Anatomy, and thofe Statues aforementioned, and Anatomies
of Plafler of Parts, which is the onely wray to arrive at the per-
fection of Drawing a Naked Figure well, without which
never expeft to be a good Hiftory Painter. Indeed a Hifto-
ry Painter ought to underftand all things, becaufe he is to re-
prefent all things : he mud be naturally a Quick, Free, Good
Inventor and Defigner, as alfo to know well how to order
and Stell his Figures after that manner ( if many in one
Piece) that they may not feem to be Crowded, or to fall Of
fenfive, but to order them Gracefully on the Fore Ground
efpecially, and the reft of the Figures to decline and leflen
proportionably, both in Heighth and Strength by degrees at
their feveral diftances. And a Hiftory Painter mu ft of ne-
ceffity underftand PerfpeBive , Architecture, Geometry, Anato-
my, Arithmetic &c. and not onely the true Shape of Mans
Body, but of all other Creatures whatfoever, and all other
Shapes and Forms that are in the World.

Of the other dijfeient particular Studies in

The different Inclinations of Men do affeft and delight to
Draw one thing more then another, becaufe either they are
more pleafed and prone to that which they do phanfie,then
to any other thing which they do not ; or elie they make
choice of fuch a Branch of Painting as is eafily attained un-

L 1 2 to.

24 An ATT EN D l X to

to, bccaufe they cannot arrive to that Perfedion of Drawing
Hidory, which comprehends the Study of the whole Art.
Therefore the particular Studies, which are of general pra-
dice, arethele which follow ; Fird, one phanfies or betakes
himfelf to draw Pidures by the Life, another to draw Land-
Barrels of Horfe and Foot, another Sea-fights, Storms, Calms
and Sea-havens, &c. another all manner of Huntings, ano-
ther Landskips or Landviews, another Fruits, another Still
Life, as Inftruments, Globes, Books, Deaths Heads, &c. ano-
ther phanfies to draw all manner of Beads, another all man-
ner of Fowls, another all manner of Fifh, and another all
forts of Flowers ; feme phanfie Per/pedive, others Archite-
dure or Buildings, &c.

The wanner of drawing Geld Armour.

Take the fined Shell-Gold, and lay it Flat, Even, and
Smoth on the place you intend for Armour , and when ’tis
Dry,burnifh it all over with a fmall Weefels or Dogs Tooth
fot in the end of a Pencil dick, but fomething longer. For
the Shadows, temper Lafy, Roman Otyr, and Gall-flone , with a
little Shell-Gold. The Heightenings being burnifhed are to
be left bright. In the Fainter parts of the Shadows ufe a
little Shell-Gold , and alfo in the deeped, which mud be neatly
and fweetly wrought into the Gold. Alfo take Gallflone, and
temper it with Shell-Gold , which gives an excellent Ludre to
all Gold Works. In the deeped and darked Shadows mix
a little BlacJ\. The Heightenings are onely the fird Gold bur-
nifhed very bright.

The manner of drawing Stiver Armour.

Fird, take Shell-Stiver, and lay it on as you did the Gold,
and burnifh it alfo when’tis Dry as you did the Gold. For
your Shadows temper Lafy and Indigo , and a very little ZJm -

her ;

the Art ofLlMN I N G. 2 5

her ; work all your Shadows down Even and Smooth, ac-
cording to the Qblervations you fhall fee in the Life. The
Heightenings are to be left (the Silver being brightly burnifh-
ed) as in th zGold. The Thinner part of the Shadows, be-

ing part of the Depth of the Shadows, muft be tempered
with a little Shell-Silver , and muft be fweetly and neatly
wrought into the Silver, and laid very Flat and Even, as be-
fore mentioned.

The manner of' drawing Chas'd or Embojfed Armour .

If in the Armour there be any Carving or Embofjing , or
Shining Armour , as I have often feen, and the Lighter places
of it muft be Sparkling, you may very finely exprefs it by
Railing in thole High and Round places with a Tempera-
ture of Gall-ftone and Roman 0\er, by Touching with your
Pencil full of the Colour of it over and over in one and the
fame place, till the Heap or Touches be railed above the
other Work; that done. Cover over the Rais’d Work
with the fineft Shell Gold , which is made at Antwerp y hen you
burnifh it with a Weefel's Tooth ; and fo the like if it be
Silver Embojfed. To exprefs the Roundnefs and Luftreof
a Pearl , you fhadow it with Indigo , Cherry-flone Blacl ^ , and
a little Pin\ j. Cherry f one burnt , and Dan ^ Pint and Rufl,
area very good Shadow for Silver Armour , and fb is Ivory
burnt and Darb^ Pinl

• v 1

The manner of making Paftils or Cryons, with the fever a l

ways ofZJfing them.

I have oblerved in Dry Colours, or Cryons, that they are
wrought in leveral manners or ways : The firft is that of
Valyant , whole manner is to place leveral frnall Heaps of Co-
lours in Powder upon White Paper, of leveral Tempera-
tures, according to the Objed he draws after, whether the

Mm Life

26 An APPENDIX to

Life or Painting. His Out-lines being firft drawn, he makes
ufe of feveral Rolls of White Paper, very hard and clofe
rolled up, about the length of a Pencil flick ufed in Limning,
and fome of them about the thicknefs of the lame, bigger or
lefler according as is neceflary, with which he rubs in the fe-
veral Colours. His Work is reafonably Neat, and has a
pretty good Force. And fome of the French M afters have
a manner which differs but in two things from the former,
inftead of the Rolls of Paper they make ufe of Stubbed Pen-
cils ; and fome of them are fluffed with Cotton, and fome
others with Bombaft : And inftead of placing the Colours
on Paper, they put them in fmall Boxes of Fur. But that
way of drawing with a Paflil about the length of a Finger, I
efteem as the beft manner, which is compofed of feveral Co-
lours and Mixtures ground together, of a good Confiftence
or Stiffnefs, and fo rolled up and dried. They ufed formerly
to temper them with Milk, Beer, or Ale, and feme have
anciently made ufe of ftale Size to bind the Colours toge-
ther: But I approve of none of thefe; for either they bind
the Colours fo hard, that you cannot draw at all with them,
or elfe they arefo brae kly or loo fe that you cannot fharpen
them to a good point.

The hejl manner of making Cryons.

Firft, temper as many Paftils as there are Varieties and
Changes of Colourings in Flefh or Faces, Draperies, Land-
skips, &c. making them Lighter or Deeper according to your
Phanfie. And 1 fhall with the manner of the Relation of
one dired you how to make all the reft : As for Example,
If you were to make a Paflil for a Brown Glowing Comple-
xion, grind upon your ftone Cerufe and Vermilion , Englifh
Ofyr, and a little Pin\j> you need not be too Curious to grind
them extremely Fine, but Reafonably to bruife and mix them
well together ; to this adde a proportionable quantity of

Plafler

2

the Art of L I M N I N G.

Plalier of Pans burnt, and finely lifted through a fine Tiffany
Sieve, then mix that and incorporate it with all the Co-
lours indifferently Thick and Stiff' like moift Clay ; and
then take it from the Stone, and roll it up into a Lump, out
of which Lump you make your Paftil, by rolling it with
the Palm of your Hand upon your (lone, a fmall quantity of
it, as much as will make a Pajlil about the length of a Fin-
ger, and about the thicknefs of a Goofe-quilJ, then lay it in
the Sun to dry, or the Wind, but not by the Fire. In this
manner, and with this mixture of P Infer of Par is; with all the
other Colours and Shadows in general,you will make them of
a Gentle quality, and bind theColours together, and make them
hold fharpening to a fine point, which otherwife would be
too loofe and brittle. So being dry you may fharpen them
with a Pen-knife to a good point, fb fharp that you may
draw a Hair. The Colour mod difficult to work in this

kind is Crimfon , if you make ufe of Lafy, which you may
avoid, and make ufe of Kojfet. Be fure to mix Cerufe with
all the other Colours and Shadows whatfoever, Another
way to make a Crimfon Cryon , to prevent it from being brittle
or hard, you may temper it with a Lighter mixture of the
fame, which will make it more fo ft and gentle. And ip this
manner with Compofitions you may make all manner of
Beautiful Colours, as Greens for Landskips, and all other
Colours for Rocks, Grounds, Skies, Waters, &c.

The Temperatures for Greens are made of Pin\ and Bice5
and MafliCote and Smalt, and Maflicote and Indigo, with which
Colours you may make them Lighter or Deeper as you
pleafe, remembering that where you are to temper fo ft or
firm Colours, as Vmher , Ofyr, Indigo y &c. you are to take the
lels Phifer of Paris • and where theColours are loofe there
bind them ftronger and fader by adding more Plajler of Pa-
ris. And when your Cryons are dry, before you begin to
Draw, fharpen with a Pen-knife, according to the largenefs
or fmalnefs of yourDefign,

Mm2 An*

Mm2

An APPENDIX to

28

The manner of Laying the Ground Fleflh-colour for a Face
to he wrought upon with Cryons.

The befl: way is to colour the Paper that you intend to
Draw on with a Carnatian or F left-colour, near the Complexi-
on of the Party you intend to draw after ; cover the whole
Paper with the faid Complexion, which is made of Cerufe
Meny and a little Tdlow Ofyr ground, with a little Gum Ara-
bic\ : When you prepare them make a good parcel of Va-

rious Complexions together, it being not worth while to
make one at a time. You lay this Ground colour with a
Wet Spunge, but let the Colour be fo bound with Gumy hat
it may not Itir from the Paper by Rubbing with your Fin-
ger on it. 1 his being done and dry, you Skets or draw the
firfl: Rough Draught with Cole ; that being as you would
have it, you draw over the fame Lines again more perfe&ly
with RedChal\, then with your feveral PaHils you rub in
your Colours firfl:, then with your Fingers you fweeten and
mix them together, driving and Scomeling them one into ano-
ther after the manner of the Oy 1-Painters. And becaufe many
times the Paflih will not fharpen to fo good a point as Blacky or
lied Cha\ , you mud be extremely careful to clofe and finifh
all your Work at lafl: with Red and Blac\Ckal\, which you
may fharpen at your pleafure. I fhall not need to infifl: up-
on particulars of this manner of Drawing, but if you pleafe
to take a view ot that Book of Pi&ures, which are all drawn
by the Life, by the Incomparable Ffand of Hans Holbean
Painter to King Henry the Eighth ; they are the Pi&ures of
mod of the Englift Nobility (both Lords and Ladies) then li-
ving ; and were the Paterns whereby he Painted his Pi&ures
in Oyl, They are all drawn in the fame manner o fCryon
before mentioned, although fome of them are miferably fpoil-
ed either by Injurie of Time, or the Ignorance of thofe that
had them formerly in Keeping j yet you will find fomething

in

the Art of L I M N I N G. 2 d

in thofe Raines an Admirable Hand and Rare Manner of
Working ; who with few Lines and little Labour exprefied
the Life fo Extraordinarily well, that by many they are
efteemed not much Inferiour to his Admirable Works in
Oyl. This Book has been long a Wanderer, but is now
mod happily fallen into the Kings Collediom

There is another Ordinary way of Drawing with Cryons
on Blew Paper: The Ground-colours are to be rubbed in
firft with a Pencil, and afterwards with a Stubbed Pencil or
your Finger. And if you pleafe you may work upon
Parchment exceeding Neat and Curious. In this manner 1
have feen Little Pieces extreme Curioufly done by the Hand
of that Great Maher Hen Goli^m (the Faces were about the
bignefs of a Jacobus') who was not onely Famous for Paint-
ing, but alio an Extraordinary Engraver, which his Prints
fufficiently doteftifie; efpecially his Twelve Pieces of the
Palfion of our Saviour, in which he imitated Lucas Van Ley-
dens manner fo Extraordinarily well, that they are efteemed
as good, if not better. As alfo his Six Incomparable Mafter-
Pieces,in which he imitates Six of the mod Eminent Matters,
as in one, which is the Storie of Our B.’efled Ladie, he imi-
tates that Admirable R afhaelVrban ; and in a fecond, being
the Fliftorie of Elizabeth's Saluting the Blefted Virgin, he
imitates the Incomparable Parmence, and in the third, being
the Birth of Our Saviour, he imitates Titian^ that Grand Ma-
fter ; and in the fourth, being the Storie where Our Saviour
is playing with and embracing Saint John , in their Infancie,
in which he imitates Brodcius ; in the fifth, being the Storie
of the Three Kings or Wifemen Offering to Our Saviour, he
imitates Lucas Van Leyden ; in the fixth, which is the Storie
of the Circumcifion of our Saviour, he imitates Albert Dure .
In the fame Piece he hath Grav’d his own Pidure ftanding,
under an Arch of the Temple, which you may diftinguifli by
his Picked Beard and great ftreight Whiskers. There is ano-
ther fmall Print of his, which is counted the beft that he

N n hath

3o Ail APPENDIX to

'

hath done, which is that of Our Saviours Taken from the
Crofs, and Lying in the Blefled Virgins Lap; in which he
imitates Albert Dure's manner. 1 have feen Pi&ures done by
Henry Golt^im in Cryons , that at a fmall diftance you would
have taken them for Limning. Some he drew upon the
Rough fide of Velam, and feme on the Smooth fide of
Parchment, being rubbed in with lmall Stubbed Pencils, and
finifhed with lharp^pointed Red and His Paflih

were about the length of a Finger, and about the thicknefs of
a Goofe-quill.

Another manner of mafyngCryons.

Take your Colours and grind them very fine dry upon a
done, then fift it thorough a fine Tiffany Sieve, then take a
piece of Tobacco-pipe Clay, and lay it on your Grinding
Stone, and temper it and your Colours together with Strong
Ale Wort. You mud have a fpecial care not to make
them too Wet, but of a good temper, like moiftClay, to roll
up with your Hand upon your Stone the longed way ; then
take a piece of Paper and dry them in an Oven after the
Bread is taken out, otherwife dry them in a Fire-fhovel, and
dry them by degrees untill they be hard enough ; which to
know, have a piece of Paper by you, and try if they
Cad, which if they do, they are not dry enough ; then dry
them till they will not cad; and then take a Feather and feme
Sallet Oyl, and oyl them lightly over, and fo lay them to
dry again, till the Oyl be foked well into them, which will
make them Good-condition’d and work Free and Eafie. Ob-
ferve that thofe Colours which bind hard of themfelves mud
be tempered with lefs Tobacco-pipe Clay. I have experien-
ced 2 elloip Of^er burnt , and rolled it up into a Paftil \ and dried
it with a Moderate Heat, and when it was throughly dry I
made it very warm, and then dipped it intoLinfeed Oyl, and
and when the Oyl was well foked into it, I fharpened it to a

very

the Art of L I M N l N G.

very fine point, and Drew with it; and it had that quality,
that rubbing with my Finger hard on that which I drew, it
would not rub off, nor any part of it ftir : and I believe all
the reft of the Colours may be made to have the fame Qua-
lity. And without doubt thofe Matters in Aldygrave s time,
in Germany, had the way to make all their Cryoni with that
quality not to rub off. I have feen feveral of their Draw-
ings, that would not Rub out, not onely of th tGerman Ma-
kers, but of the Lorn Dutch , as of Golt^ius and others, of
whom I have had feveral Drawings, which were extremely
neat, qualified as aforelaid,and(like Oy 1-painting) very ftrong.

Some briefObfervationr and Dir eff ions for a Toung ¥ ra-
ff itioner in the Art ^ Drawing.

Obferve to draw all your Out-lines generally at firft very
Faint with a Cole, becaufe ifamifs you may rub it out with
the Feathers of a Ducks Wing, and mend it the eafier by
Drawing Faint ; but ft you lean hard, and draw very Black,
it will not eafily rub out. Next, be fare to draw all your
Out-lines right and agreeable, according to the Patern you
draw after, before you begin to Shadow any part of it.
Then obferve, to draw thofe Outlines next to the Light
very Tender and Faint. Then obferve, in all your Drawing,
thofe former Rules and Proportions prefcribed in general in
the foregoing Treatife,as well as of this , and then proceed as
I have mentioned before. And after that you have drawn
one Feature, that may ferve in feme meafure for diredion
how to draw the other, by obferving exaftly with your Eye,
being guided by Reafbn,the diftancefrom that to the next
Feature, making a (mail mark with your Cole where it ist
be placed^ and then you draw it, and fo to the next This
Obfer vance of the Diftances is neceftary in a Whole Figure,
and in every thing elfe. In a Figure you obferve by the di-
ftance from one Mufcle, or Joynt, or Limb, to the other,

N n 2 and

32 An APPENDIX to

and the lame in all things elfe. Obferve their Bignels, thei
Length, their Windings and Turnings, as a !fc> their Shadows
too. Obferve to Shadow it next to the Light extremely
Faint, and where you fee Bold and Free Touches, be not Ti-
morous in Expreffing the fame. Be lure in drawing of a
Head by the Life, or otherwife, that you obferve to place
your Features exadly right upon the Crols Lines, whether
it be a Full Face ora Three quarter, as you may lee in the
firft Print at the Letter^. As for thole Heads in the lame
Print that ffie upwards in F orejhortemng , there you rnufc
obferve to make the Crols Lines to flie upwards; and in thole
Heads that decline with the Afpedt downwards, to make
them bending downwards in a Circular manner, and not
ftreight. And after that you have the Out-lines true, you
proceed to trace over the feme Lines with a Pen, which you
Skets’d but rudely before with a Cole, and draw all the Out-
lines more exadly, and then finifh by degrees , by imita-
ting all the Hatches that are in the Print with your Pen. Ob-
ferve the diftances of one Hatch from the other, with all their
Crollings, 'Turnings, and Windings; and be not Timorous
in following any of them, but Bold and Free.

Thus I have briefly comprehended thefe things in a Gene-
ral way, and given you fuch Obfervations and Inftrudions
as I thought were moft Convenient concerning the feveral
Arts before mentioned, and fhall Conclude with giving you
an account of the Original Invention of Drawing and Paint-
ings and the Place where it was found, and the Manner how
the Art of Painting was railed out of the Grave ( after it had
been fo long Extind) into Italy again.

Of

the Art of LIMN IN G. ^

Of the Original Invention of the Art of Drawing and

Painting, ,

This Art was Found out or invented firft in Egypt, and
Card Van Winder (in his Hiflory of the Lives of the moji
Eminent Painters , &c ) gives this Account, that it was found
out and invented firlt in Egypt by one Gyges, born in the
Province of ‘Lydia, and called by the Ancient Writers Ly-
dia Maoma ; the principal City of it was fituated near the
Hill Tmolm , and was called Sardis. Quintilian relates fur-
ther, that The Art of Drawing did take its Original from the
Shadow which the Sun did caff,* and moreover he tells us,
that it was invented by a Shepherd, who attending his Flock
in a Sun-fhining Day, happened to cart his Eye upon the
Shadow of one of his Sheep, which flood before him on a
plain Sandy Ground, and phanfied to trace with his Stick on
the Sandy Ground round about upon the Edge of the Sha-
dow' ; and (afrer the Sheep was gone) there remained
the perfeil Out-lines of a Sheep, with which he was extreme-
ly taken ; From w hence the Ancients took their firfl Deli-
neation. And afterwards were added the Inward Lines for
diftineiion of the Members, delineated and made after the
meafure of the Eye : and fofrom time to time through new
Inventions this Art was improved.

And how much this Art of Painting tranfeends other Arts,
that Famous Plutarch gives us an Account of one Cajfander ,
(a Captain to Alexander the Great") who at a certain time be-
holding the Artificial Counterfeit of the forementioned Ale-
xander ,&c. was (o extreme joyfully furprifed and taken with
the Glorious Majcftical Looks , that wrere reprefen ted in
thePiflure, that it had almofl aftonifhed him. And we read
of Quefis , which had fo great efieemof his own Pieces, that he
imagined no man could give fo much for his Work as it de-

O o ferved,

34 An APPENDIX to

ferved, and therefore chofe rather to give them away, then
to Undervalue the Art.

Tbe Life of J o h n C i m a b u e, of Florence,

Painter .

When Wretched Italy was Co miferably overw helmed by
the Horrid Deluge of Unfortunate War, that notonely 7 he
Art of Painting, but alfo the Painters did all fail, and were
utterly Extinft. But Providence was plealed in the Year
of our Lord 1240, to raile at Florence one John Sirnamed
Cimabue, of a Noble Family, who railed The Art if Painting
as it were out of the Grave, where it had been buried a long
time, and revived it again. He being an Ingenious Youth
was kept to good Literature ; but in regard that Nature in-
fligated him to other things, he bellowed much time at
School in Drawing of Little Men, Horfes, Houles, and other
Fi gures j untill it happened that leveral Grecian Painters
came to Florence by the Appointment of the Prince, not fo
much to fettle there, as to renew and bring to Life again
fome old decayed Paintings ; who being there imployed in
a Church, Cw/abue would many times abfent himfelf from
School whole days together to fee them Paint ; fo that the
Painters and alfb his Father perceiving, that if the Lad had
but fbme fmall Fundamental Inftrudions in that Art for the
Beginning, he might haply attain to greater perfection ;
which afterwards came to pals, for he lo improved his Learn-
ingjthat in afhorttime he went beyond his Mailers in that
Art, and had a Method of Drawing a great deal more Inge-
nious then they, who aimed no higher then to follow what
they had been accuflomed to ; (a very Barbarous Grecian
manner, far differing from the Ancient Painting of the Fa-
mous Greeks ! ) Infomuch that his Name and W orks added
much to the Fame and Honour of his Native City, whick
he beautified and adorned in feveral Publick Places and

Churches j

the Art of L I M N I N G. ^5

Churches; reprefinting in his Works fptiie Pourtraicfures
after the Life, which at that time was a Novelty. Neither
were his things drawn like; his Matters, but more Smooth
and Fluent, as well in Nailed Bodies, as Draperies and Hiflo-
ries; befides figures upon Wood, with Egge and Size Co-
lours ; and alfo upon Walls in Frefco , which full remain and
are to be feen at Florence of his Doing, although many are
decayed: fi> that at latt his Works were difperied through*
out all Italy. And it fiems very ftrange to any one that lees
them now, to imagine how a man in fo Dark an Age could
be fb Excellent in our Art. One of his Pieces was carried
from his Houfe with Solemn Mufick in a Stately Procettion
to the Church of Sanffa Maria del Nova, andhew’as very
well latisfied by the Clergy for the fame. It is reported by
Ancient Writers , that he painted a Piece in a certain Court
by St. Peter s Gate, and when Charles the French King patted
through Florence, he went to fee the fame, and all the people
of the City, (both Men and W omen) in a great Croud did
jovially relort thither ; fo that the place to this day is cal-
led Jovial At Prfa he painted a Piece with Egge Colours,
being our Saviour on theCrols, with fome Angels weeping,
and holding in their Elands a Scrole, containing words pro-
ceeding out of Cbrifl's Mouth to the Ears of the Virgin Ma-
ry, who flood on his Right Hand alio weeping, Mnlier , ecce
Film tans ; and on his Left Hand to John , Ecce Mater tua .
In the Hand of an Angel another Scrole, Ex ilia horaaccepit
earn D/fcipulas in faam domum. By which one may perceive
that Cimabue began to open the Path of Inventions, and to
give light to his meaning, by exprefling it with words, which
was then a New Invention not known before. He was alfo
skilful in Architecture. He died in the Sixtieth Year of his
Age in the Year of our Lord 1300, having fufficiently rai-
led 1 he Art of Painting to a new Efteem and Reputation.
He left behind him many Difiiples , and amongtt others
£>ne Giotto, who became a Singular Painter, and conti-

O o 2 nued

S6 An APPENDIX to

J

nued dwelling in his Mailers Houle in Cucumber Street,
Cimabue's Epitaph was thus,*

Credidit ut Cimabos Pi&urx cafra tenere •

Sic tenuity verum nunc tenet ajlra Poli,

True it is, \f Giotto had not Excelled his Mailer fo much,
the Fame of Cimabue had been in more Renown, as the Poet
Dante relates in his Purgatory Saying ,•

Cimabue for the befl Painter reputed was, but for that

Giotto now hath got the Report, he fains his Fame,

The Expounders of Dante , who wrote in the time o{ Gi-
otto, about Twelve Years after the Death of the Poet, Anno
1334, lay upon thefe Verl ^s, Cimabue of Florence was a Pain-
ter of very Noble Works, but lb Cholerick and Hally, that
if any one, or himlelf,did but lee the leall Fault or Defed in
his Paintings, as lometimes it happened by the Colours or
Inftrumcnts, he would be apt to break or fpoil them, were
they never fo Godly.

The Life of S t e p h a n if s. Painter ^/Florence.

The Alluring defire of Sweet Profit and Pleafant Honour
with Natural Inclinations and Love to Art, have preferred
this Man and Difciple of Giotto (by his Pradicks and Indu-
llry) to fuch a Perfedion, that he did not onely exccll all his
PredecelTors in the Art, but furpafled his Mailer fo far, that
he wasefteemcd defervedly for The be ft Painter of his time ,
as his Works evidently do witnels. At Pi fa he Painted a
Madonna in a Church called Ca npo Santo Spirito, which Piece
was more Rare in Drawing and Painting then that of his
Mailers. Alio at Florence , in the Cloy Iter of Santo Spirito,
he painted three Arches in Frefco > in the firlt he reprelented

the

the Art of L I M N 1 N G. 3^

the Transfiguration of Chrifl on Mount 1 aim , with Alofes
and Elias ; where the Splendour of our Bleffed Saviour re-
fieds upon the three Apoftles, which appears Extraordinari-
ly and Rarely interwoven in their Draperies, in luch manner
that the Nailed may be perceived thorough the Pleats and
Folds of their Habits, which before never was obferved, nay
not by Giotto himfelf. in another Hiflory he repreEnted
the P ojfljfed Man whom Chrifl healed, and a Perfped of Ar-
chite&ure according to the beft Art of Perfpedives, whereof
little was then known ; which he accomplillied with Great
Jud gment and Good Invention ; the Columns, Portals,Gates
and Windows, all according to their Dimenfion and Pro-
portion in a Modern manner ; but fo much differing from
the Works of other Mafters, that it was eafily perceived he
had the beft manner in that particular. A mongft other Pie-
ces of Shortenings he reprefented a Pair of Stairs or Steps, of
a ftrange Invention, which afterwards was imitated in Build-
ing, He made alfd the Hiftory how Chrift laved the Apo -
flies from perifhing at Sea; where he reprefented very rarely
the fear and terrour of the Apoflles in their Poffures and
Countenances/or it feems as if Peter had (poke and cried out.
Lord , help us,rve perijh. This Piece is efteemed for its Beau-
ty and Foldings in the Draperies , and other tilings, as the beft
Piece of all others of the fame nature. Amongft others of
his Works he painted in a Chapel the Fall of Lucifer, with
feveral manneis of Shortenings in Bodies, Arms, and Legs ; for
which he was called or nickmamed by the Arcifls The Ape of
Nature Moreover, our Stephen painted many other Pieces
in his Native City, asalfo at Milan , Rome , and elEwhere;
but Specially at Afcefl, where he painted an Excellent Piece,
reprefenting in it a Heavenly Glory, not yet finifhed, by rea-
fon that hisQccafions called him to Florence ; here he paint-
cd in fome Round Circles feveral Saints (Male and Female)
in fuch different Ages and rare Poftures, fome Old, others of
a Middle Age, and (bme Young, fo well, that it could not be

P p defired

j8 An APPENDIX to

defired better : there you’l perceive in the Heavenly Spirits
fuch a Sweetnefs of Harmony and Eflence, that it feems al-
moft impoflible that it fliould be done by any Man in that
Age. Moreover, above thefe fome Angels are playing in
the Glory with many forts of A&ionsand Adorations,ho!d-
ing in their Hands The feaven Churches of Afia, mentioned in
the Revelations , with fuch a rare Graceful Manner and Come-
linefs, that it is to be admired It is reported alfo that he
was a Rare Architect. He died in the beginning of the Ju-
bilee, Anno 1 550, in the 49th. Year of his Age. His Epi-
taph is this ;

Stephano Florentino P iB or i, facie ndis I magi-
nibus, ac Color andis F iguris , nulli unquam inferior*.

Affine s moeflifs .

And now ( Kind Reader ) by the Lives of thefe Two Emi-
nent Painters I have given you a tafte of aDefgn which I have
almoji perfetled, that ^ THE LIVES OF ALL

THE MOST EMINENT PAINTERS

that could be Colie bled, Written Originally in Low Dutch by
CarelVan M ande r, Painter of Molenbeke,W by me
faithf ully Tran fated, (as well Ancient as Modern y\ z.Egyptian,
Grecian, Italian, High Dutch and Low Dutch, and all other
Eminent Majlers of this Age.) Which being a Worl ^ too
Chargeable for ONE SINGLE HAND to carry
on , (not onely in rejpeB of the Sculptures fut the Charge ^Print-
ing afo) 1 cannot promife to Publifh , unlefs I can meet with fome
Reajonable Encouragement from the Ingenious Lovers of Art.

7 his following Obfervation was forgot, of Lay mg the Ground - v
colour for Hair, and the manner of Heightening

and Deepening .

Ail Hair generally in Miniture is to be laid on with a
Medium. Colour, that is to fay, not fo Light as the Lighted,

AT/ nor

V. U Vfc

the Art of L I M N / N G. g.p

°or io Deep as the Deeped Shadow, but a Middling Colour
^etween both, on which you may both Heighten and Deepen
by degrees at your plealure. The Reafon why you are not
to lay it on with lb Light a Colour as the Lighted Heighten-
ing, is becaufe it will require a long time to work down ; and
if fo Dark as the Deeped Shadow, you cannot Deepen it
lower with the fame Colour. Oblerve to lay this Ground-
colour extremely Even and Smooth, and the Nimbler you
lay it, the better. Make uleof a Goofe-quill Pencil, and let
the Temperature thereof be not too Thin, becaule the Parch-
ment will appear through theGround,which otherwi/e it will
cover very well ; and rather then it fliould appear thorough,
when the Ground is dry that is fird laid, go over the lame
again.

A DVERTISEMENTS .

Becaufe it is very difficult to procure the Colours for Limn-
ing rightly prepared, of the hefl and brisl^ef Colours , I have made
it pan of my hufmefs any time thefe 1 6 Tears , to colled as many
of them as were exceeding good , not onely here , hut beyond the Seas .
And for thofc Colours that I could not meet with all to my mind , I
have tad^en the care and pains to mafe them my felf Cut of
which ColleUion I have prepared a fufficient Quantity , not onely
for my own ufe , but being refolved not to be Niggardly oft the fame ,
am willing to fupply any Ingenious Perjons that have occajionfor
the fane at a reafonable rate , and all other Materials ufeful for
Limning, which are to be had at my Lodgingin Long-acre,^/ the
Sign of the Pedel and Mortar, an Apothecary s Shop ; and at
Mr. TookerV Shop) at the Sign of the Globe, over againfl I vie
Bridge in the Strand.

Since the Printing of the following Catalogue there is happily
fallen into ALr.Tookers hands the befl Bool^that ever Zeeman
did , con f fling of Men of War, Merchants Ships, Fly-boats,

Ships Building and Careening, &c.

FINIS.

ERRATA.

In the fitft Treatjfe, p.icj.i, t. for as it mre round, p. 13^*34- t»from tbsnct, p.i7»l.uU. r. Status s.

The Contents of the Appendix.

rH E Names of the Colours mofi ufeful and cnely neceffary for Mi-
nicure. 2

Ojthe nature andproperty of the Colours not ufeful , and the Rea-
fons why omitted . 3

Of Temperatures generally ufed for Shadows, ib.

The Temperatures which are ufed for drawing Heads after the Life . 4

The Temperatures which are ufed for Colouring and Shadowing in general for
Hifiories. ib.

Temperatures for Hair. 5

Of colouring and JhadowingofHifiory in Limning , and alfo other neceffary
Obfer nations, 6

Of the four kinds o/Colourings, which are generally to be obferved in Hifiori-
cal Limning. 7

Obfervations on the complexions of Virgins and Fair Toung women. 8

Of the Temperature and colouring for Old Mens Bodies. 9

The manner of Dead-colouring a whole Figure neceffary for Hiftorical Limn -

ing.

ib.

11

12

13

1 3^4

Temperatures for Garments with their Shadows .

Some further Directions how to temper and mingle jour Colours, isrc.

Of Drapery or drawing Apparel .

Two ways of working ofV) rapery.

Three Obfervations in drawing o/Garments. 15,16

Two Obfervations for placing the Lights, and for Jbadowing of Garments, and
other things in general ; with the Reafon why the Shadows mufi generally
fall one way. 1 7, 1 8

Of Profpedive Proportion. 1 8

Of a Graceful Poflure . 1 9

Of Lonfnejs in Drawing , and of F orefloortening. 20.

Of Natural Guidances. a l

Some further Obfervations in drawing a Naked Figure ftanding Foreright ,
by the Life. ib.

Of the other different particular Studies in Painting. 23

The manner ofdrawingGold Armour, Silver Armour, and Chas’d or Em-
boiled Armour. 24,25

Three manners of making Paftils or Cryons, dec. 25,26,30

The manner of laying the Ground Flefh-colouryor a Face to be wrought upon
with Cryons. 28

Some brief Obfervations for a Toung Practitioner , isrc. 3 1

Of the Original Invention of the Art of Drawing and Painting. 33

The Lives of John Cimabue ^WStephanus, Painters oj Florence. 34,36
Of laying the Ground-colour for Hair, and the manner of Heightening and
Deepening . *.38

Two Adverti feme nts. ^3 39

A CATALOGUE

A Catalogue of Plates,

The Prints whereof are ufirful for Gentlemen, Artifts.and Gentlewomen, and School- miftrefles Works,
Sold by Arthur Took f.r, Stationer at the Globe oyer againfi Salisbury Houle in the
Strand, where you may have choice of Maps, and al/o Italian, Cjetinan, and the Low Countrey
Prints, India n Ink., Abortive Skins , all forts of P amtings , and all Stationary Wares.

Plates of Arnold dc JoJc bis Graving.

An A'manack Border with Boys, and the Seafons
of the Year, invented by Mr. Ifaac Fuller.

Ars PifJ/tM, bring the belt book extant inEnglifh
for Drawing, collafted by Mr. Alexander Ptowne.

Four Stories ol Ovirl in ieveral Plates, vi^.i.Pbacton,
j. Venus birth, ^.Ulyffes and the Syrens, 4 Si/yfbut.

One Plate containing 7 ofthe Nobilities Heads.

Plates of Mr. Gay woods Etching , invented by
Mr- Barlow and others.

Two Badges or Choice of Signs for Bars and
Rooms.

Titian and hisMiftrcfs.

A Cunnie-berry.

Saint GEOP^GE-
Madam Kfrck.

A Cats Head.

A book a 4 Leaves, of variety ofBeafts, Birds, Flies,

Fruits, and Flowers. .

A book 54 Leaves, of variety ofbeaftsin their po-
llutes and aftions. .

A book 9 Leaves, ol variety of birds in their le-
veral ailions. _ .

A book 07 Leaves, of ieveral Stories of the begin-
ning ol the PIP LE.

A book of IWciei Foldage, 11 Leaves.

AProfpedt Viewof Lynn.

Sea fight.

Several Plates Etched by Mr. Gay wood Mr. Place,
andJAdr. Holler.

A fmall Sea Storm.

A book 5 Leaves, of Sea Havens.

A book 6 Leaves, of Round Sea Havens.

A book » Leaves, of Landskip.

A Sea Haven.

Pych ft r Caflle.

Hurjt Cafrle.

Cowes Caftle.

Several forts ef Plates by sh Vers Authors.

Eight Plate' ofthe King and Queen, Duke and Due-
chefs of Mount nth, Engraven by Van HoVe.

Eighteen Heads ol Drollery and Anticks.

Three Plate ,t> i.Chrift taken from the Crofs,
2. A Friar, 0,- Saint Jerom.

A Perpetual Almanack in a large border.

Sixty Stories of variety of Landskip and Ovals with
neat borders, and vaiiety of Bcafts.Birds, Hunt-
ing, Trees, Worms, Fruit, Flowers, Fillies, &c.
Coloured fit for Cabinets, DrelTing-bores, Pow-
der-boxes, Baskets, Skrecns, icc.

Four Plates ol Littlcboys.

Saint George

The Queen

The Duke ol Monmouth

AEaon.

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Of the VTiginai invention vj use ► vj ~ Q_ ^ ^

Tbe Lives of ] ohnCimabue ^WStephanus, Painters oj Florence. 34,36
Of laying tbe Ground-colour for Hair, and the manner of Heightening and
Deepening, ~ 3 8

Two Advertifements, 39

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